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Dyestuffs Department 
Wilmington Delaware.U.S.A. 


ART-SILK. 
| LEATHER | | J 























THE DYEING OF PAPER 


Prepared by 


JOHN R. ROBERTS 


E. I. du Pont de Nemours & Co., Inc. 
Dyestuffs Department 
Wilmington, Delaware, U.S. A. 


P. 77. 1924 

















E. I. du Pont de Nemours 








Copyright 192 








Introduction 
Chapter I. 
Chapter II. 
Chapter III. 


Chapter IV. 


Chapter V. 


Chapter VI. 
Chapter VII. 


CONTENTS 


PAGE 
Types of Paper if 
Dyeing of Paper in the Mill 13 
Classes of Colors Used for 
Paper pay 
Notes on the More Im- 
portant Du Pont Colors 
for Paper Be 
Suggestions about Colors 
Best Suited for Different 
Grades of Paper 52, 
Resistance to Fading 85 
Laboratory Procedure 89 


Our Technical Service 


Index 





INTRODUCTION 


HE primary object of this book is to give 

in a general way information regarding the 
dyestuffs most generally used on paper, infor- 
mation which will aid in the selection and use 
of dyestuffs for various purposes. 


In it we have covered briefly the various 
kinds of paper made, the different processes or 
methods of dyeing and the laboratory pro- 
cedure used in testing dyestuffs and matching 
shades. 


We realize that to some a considerable 
part of the material will be unnecessary. Plant 
chemists and color men are, of course, familiar 
with methods and procedures used in their own 
mill. However, the production of most mills 
is confined to one general line of papers such 
as bonds, wrapping, container board, etc., and 
those working on one line may not be familiar 
with the processes of other lines. 


We hope it may be of interest to many, 
particularly students, beatermen, foremen and 
others who in time will become superintendents 
or managers of mills. 


E. I. DU PONT DE NEMOURS & Co., Inc., 
Dyestuffs Department, 
Wilmington, Delaware. 





CHAPTER I 
TYPES OF PAPER 


ITH the advancement in the art of paper 

making, the use of paper for a great va- 
riety of purposes has come naturally, and there 
has followed a specialization in the kinds of 
paper manufactured for these various uses. 


Newsprint is made almost entirely of 
ground wood, except for admixture of un- 
bleached sulfite, ranging from 10% to 25%. The 
machine making this class of paper is run at 
high speed, and the sheet is comparatively light, 
usually approximating a weight of 32 pounds 
to each 500 sheets, 24x36 inches. Some of 
the modern paper machines run as fast as 1000 
feet a minute and make a sheet more than 175 
inches wide. Newsprint, besides its principal 
use in newspapers, is used for cheap pad, tablet, 
poster and catalogue papers and some of the 
cheaper magazines. 


Boxboard is fast becoming one of the im- 
portant branches of the paper industry and as 
this branch uses waste papers largely for its 
basic materials, it will probably become even 
more important in the years to come. 

Board is usually made on a cylinder ma- 
chine, the various thicknesses being made by 
additional cylinders. The number of cylinders 
may range from three to seven, and the two 
outside cylinders give the outside of the sheet 
or linings as they are called. All kinds of 


7 


Newsprint 


Boxboard 


Book paper 


waste paper, boxes, rags, etc., go into the manu- 
facture of the board itself; the lining is usu- 
ally made of ground wood, old news, or mixed 
papers with a certain percentage of unbleached 
sulfite or Kraft. 


One of the oldest branches of the paper 
industry is the manufacturing of book and 
high grade printing papers. 

Book paper is made chiefly from rag (cot- 
ton and linen), sulfite and soda wood pulp, and 
in the cheaper grades some ground wood, all 
of which have been bleached except the ground 
wood, this being used both bleached and un- 
bleached. 


Loading materials sometimes are added 
to book papers to the extent of 10% to 15%, 
to make the paper more absorbent and more 
opaque. Kaolin or clay is the chief substance 
used. It serves to fill up the pores, thus giving 
a higher finish and causing the ink to be taken 
up rapidly. 

The bright surfaced papers on which some 
books are printed, especially when half tones 
have to be brought out, are known as coated 
papers and are the basis of an industry sepa- 
rate from the manufacture of paper. 


The principal grades of book papers are 
“machine finished,” and “supercalendered.” 


Machine finished papers receive only the 
finish given by the calender rolls at the dry 
end of the machine. This grade of paper is 
used largely by publishers of books and trade 
catalogues. 


Supercalendered paper is machine finished 
paper which has been given an additional sizing 
and calendering, or calendering only. 


8 


wae es 
Namie 


Cover papers are tough, heavy, well fin- Cover paper 
ished papers used for magazine, catalogue or 
pamphlet covers. They are made mostly of 
rag and bleached sulfite, although in the 
cheaper grades unbleached sulfite is used. 
Sometimes jute and rope are used in small 
quantities. 


Bond is the name given to paper that is Bond paper 
used for business correspondence, ledgers, and 
for typewriters. 


Bleached sulfite, rag and soda pulp are 
principally used in this class of paper. For the 
better grades, rag and bleached sulfite alone are 
used, while in the cheaper grades considerable 
quantities of soda pulp and filling materials 
are used. 


Paper used principally for personal cor- Writing paper 
respondence is what is meant by the term 
“writing paper.’ Its composition is similar 
to that of the various grades of bond. 
The linen finish on many writing papers 
is given by pressing the sheets against a piece 
of linen. Great pressure is used and the tex- 
ture of the linen is impressed on the paper. 


Wrapping papers are made from various Wrapping paper 
combinations of Kraft, sulfite, ground wood and 
sometimes waste papers. Jute and rope are 
also used to a small extent. 


For paper in which great strength and 
durability is required, sulfate and sulfite are 
used, but for cheaper wrapping papers in which 
strength is not paramount, ground wood is used 
in varying proportions. 

There are also on the market today, numer- 
ous imitations of Kraft made by coloring sul- 
fite pulp to the shade of Kraft. 


9 


Tissue paper 


Manila papers are very important. Such 
wrapping papers were originally made from 
pulp prepared from Manila rope, but the term 
is now applied to papers made from sulfite and 
ground wood, and colored to imitate the char- 
acteristic Manila shade. 


On account of their thinness, these papers 
constitute a distinct class. They include crepe, 
toilet, colored tissue and cigarette papers. 

These papers must necessarily be sup- 
ported on a felt in passing from one part of 
the machine to another and therefore, they are 
usually made on Harper Fourdrinier or cylin- 
der machines. 

Unbleached and bleached sulfite, rag and 
ground wood are used in various proportions 
to make tissue papers. 

As a good cigarette paper should be abso- 
lutely neutral in flavor and aroma while it is 
burning, pure flax or linen fiber, hemp fiber and 


»Yamie are usually used. Rice straw was for- 


Blotting paper 


merly considerably used, but this does not pos- 
sess the strength necessary to make a good 
cigarette. Formerly, nearly all cigarette pa- 
pers were made in Europe, but now a very 
good grade is being made on this continent. 


Of all the fibers used in paper manufactur- 
ing, cotton has the greatest capacity for ab- 
sorbing liquids and for this reason, by far the 
best blotting papers are made from rags, but 
they grade down all the way from pure rag to 
those made up with a large percentage of 
ground wood. Medium grade blotters usually 
contain a considerable quantity of soda pulp. 


In the manufacturing of blotting paper, 
care must be taken in the preparation of the 


10 


stock. It must be properly beaten and hard 
water cannot be used, as this destroys the ab- 
sorbing power. Alum is sometimes used in 
quantities not exceeding 2%. 


Filter paper is, in many respects, similar 
to blotting paper. 

The best filter papers consist of stock made 
from the best quality of cotton rags with a 
little wool fiber mixed in. In order to extract 
any mineral matter in the fiber the stock is 
treated with hydrochloric and hydrofluoric 
acids and dilute alkalies and then washed fre- 
quently with the purest water. 

Many firms in England, France, Germany 
and Sweden have specialized in this branch of 
work, but lately the industry has been entered 
by one or two American concerns. 


This is a comparatively cheap grade of 
paper used for wall coverings. It is usually a 
mixture of 85% ground wood and 15% sulfite, 
both being used unbleached. Old papers are 
sometimes used in the furnish. About 10% of 
clay is also added to make a suitable surface 
and render the sheet opaque. 

Hangings must be well sized so that they 
will not break when the paste is applied. Care 
must be taken also to see that the moisture 
content is right because if the paper is over 
dried it will be brittle. 


Oatmeal wall papers receive their name 
from the oatmeal appearance which the sur- 
face has, due to the addition of wood flour. The 
stock consists usually of old newspapers, 
ground wood, and unbleached sulfite. 

There are two classes of oatmeal paper, 
duplex and oatmeal pulp. The former is really 


11 


Filter paper 


Hangings 


Oatmeal wall paper 


Building and 
roofing paper 


Glassine and 
greaseproof paper 


two sheets, one the lining or back sheet and 
the other a thin colored sheet which contains 
the wood flour. The latter is a single sheet 
throughout which the wood flour is uniformly 
distributed. . 


These are made from very coarse and 
cheap materials such as low grade rags, gunny 
sacks, coarse jute, wastes, sulfite screening, 
etc. Cheapness and bulkiness are the prin- 
cipal requirements. 


For the making of these papers the stock 
is beaten a long time until what is known as 
“hydration” takes place, that is, the fiber takes 
up water chemically and becomes transparent. 
Unbleached or bleached sulfite is usually used. 


12 





si 


| Pe 


P thin coating of the size. It is obvious that the 


dyestuffs have a better chance to adhere to the 
fibers before they receive this coating. 


In the mill the color is “built up” in the 
beater by starting with quantities of color that 
will be sure to produce a shade on the light 
side of the sample. Small hand samples are 
made from the stock in the beater, dried out, 
and compared with the sample to be matched. 
Additions of color are made until, in the judg- 
ment of the color man, or beater engineer, the 
finished paper will be a match for the sample. 

It sometimes happens that too much color 
is added to the first beater. In this event the 
excess color must be held out of the second 
beater and the two dropped into the chest to- 
gether. It is always advisable to withhold 
some of the color from the third beater; then, 
if the color comes too deep on the machine, it 
can be quickly remedied by ‘“doctoring” the 
third beater and dropping it immediately into 
the chest. 


The color usually is deeper in the finished 
paper than in the hand sample. This varies 
with the finish put on the sheet and the type of 
colors used. Basic and direct colors in light 
shades show the least change, while acid colors 
in heavy shades will show a difference up to 
10% to 20%. Supercalendering or water- 
finishing a sheet will also deepen the shade to 
about an equal extent. Good judgment as to 
what may be expected on the machine from a 
beater hand sample can only be obtained by 
experience. 

In running standard colors which have 
been made before, the usual procedure is to 
color the first beater with the formula used at 


15 


Matching shades 


Color is usually 
deeper on 
finished paper 


Prevention of 
mottled effects 


Causes of mottling 


the time of the last run. A hand sample is 
made from the beater and if the shade is not 
right, the necessary colors are added. If off- 
shade or too deep the second beater is colored 
with such amounts of colors that the mixture 
of the two beaters will give the desired shade. 


Different “blows” of the same kind of 
stock, and different lots of bleached stock, vary 
considerably in color, and it is impossible to 
produce a uniform shade without changing the 
formula from time to time. 


Mottling of the fibers in paper dyeing is 
one of the banes of the paper maker, but with 
a little thought and the following of a few sim- 
ple rules, much of this can be avoided. 


Some aniline dyestuffs have much more 
affinity for vegetable fibers than others, and 
it is this property which causes the mottled 
effect. It is not particularly objectionable in 
the cheaper wrapping and water finished pa- 
pers, but it is not permissible in the higher 
grade papers, such as bonds, writing, book, and 
cover papers. 


In general, mottling is caused by adding 
the dyestuff in a hot concentrated solution to 
the beater in such a manner as to color a smaller 
number of fibers immediately, or it may be 
caused by adding the dyestuff to a mixed fur- 
nish in which the colors will “fix” on one of 
the stocks much more quickly than on the 
other. 

The direct and basic dyestuffs, with the 
possible exception of Pontamine Yellow CH, 
Du Pont Auramine, and Du Pont Rhodamine B 
and a few others, generally cause mottled fibers 
in the sheet, if precautions are not taken when 


16 


ae are 


4 Ven’ an ol 
or a ie 
rr 
7 


_ adding them to the beater. On the other hand, 
acid colors do not have any decided affinity for 


the fibers and they can be added to the beater 
under any and all conditions without mottling 
the sheets in the slightest. 


To avoid a mottled effect when coloring a 
straight furnish, unbleached sulfite for ex- 
ample, the best plan is to add the color in a 
cold and very weak solution. Making the ad- 
dition slowly will also help, giving the color a 
chance to be more evenly distributed through 
the stock. 2 


Methylene Blue, Methyl Violet, Victoria 
Green, and the Basic Browns, are particularly 
troublesome in this respect, being usually very 
concentrated colors. 


Generally speaking, dyestuffs, basics in 
particular, have less affinity for bleached stock 
than for unbleached. If the dyestuff is added 
to a mixture of these materials, it would natur- 
ally go on the unbleached fibers more quickly, 
coloring them more deeply than the bleached 
fibers. In mixed furnishes of these materials, 
it is always best to furnish the bleached stock 
first, and then to add the dyestuffs. After 
these are thoroughly mixed, the unbleached 
stock may be added. In this manner, the 
bleached stock has an opportunity to take up 
some of the color before the unbleached fibers 
begin absorbing it. 

Ground wood is usually mixed in a furnish 
with unbleached sulfite. The majority of the 
direct and basic colors will go onto the un- 
bleached sulfite much more quickly than onto 
the ground wood, and when using this material 
in furnish, it is advisable, when practical, to 
put the ground wood in first, then the color, 


17 


Use cold, 
dilute solutions 
of dyes 


In mixed stock 
furnish the bleached 
stock first 


Dyeing of 
mottled papers 


and after mixing thoroughly, the unbleached 
sulfite. If the ground wood should become 
more deeply colored than the rest, it would not 
show noticeably in the sheet, as its fibers are 
usually fine and short. 


In furnishes in which clay is used the color 
may be mixed with the clay and water before 
adding to the beater, thus reducing its tendency 
to mottle the fibers. } 


Mottled papers are used principally for 
cover paper, fine stationery, blotting papers, 
and sometimes for wall papers. The fibers are 
made in many colors. Sometimes two or three 
different colored fibers are mixed together, the 
effect being most beautiful. 


Basic colors may be used for dyeing vege- 
table mottling fibers, but they are not ordi- 
narily recommended for fine papers because of 
their poor fastness. When they are used, twice 
as much tannic acid as dyestuff, by weight, 
should be added to the beater as this increases 
their resistance to light and helps to overcome 
their tendency to bleed. 


As a rule the mottling fibers are un- 
bleached sulfite or cotton rags.* Hither may be 


* Because of its long curling fibers wool is often 
used as a mottling fiber and in such cases the wool may 
be dyed with acid colors. As a rule the dyeing of this 
material should be done in some container other than a 
beater because it is necessary to add sulfuric acid to 
the dyebath. 


The following formula may be used for this work: 
10 to 20% Glauber’s salt 
4% sulfuric acid or with 
10% bisulfite of soda 
and the required quantity of dyestuff 
Enter the wool fibers and dye for 1 hour at a boil- 
ing temperature. Finally add sulfate of alumina to fix 
the dyestuff as well as possible. The fibers should then 
be washed thoroughly, especially if they are to be used 
soon after dyeing. 


18 





used but the latter are, perhaps, the better as 
the direct colors have a little better affinity for 
rag than wood fibers and they are generally 
used because they do not “bleed” or wash out 
and color the rest of the paper as do basic or 
acid dyestuffs. 


In dyeing the fibers they are usually put, 
with as little water as possible, into the beater 
which should be supplied with a steam pipe for 
heating. The dyestuff which has previously 
been dissolved in hot water is then added and 
after circulating for a while 6% to 10% of 
common salt or double the quantity of Glau- 
ber’s salt is added in solution. The beater is 
then heated almost to the boiling point and 
kept at this temperature for about a half hour, 
after which it is allowed to cool. Two percent 
of alum is then added to fix the dyestuff more 
thoroughly, an addition which, it should be re- 
membered, changes the shade of a great many 
of the direct colors. 


The beater of dyed fibers should then be 
washed for a while with a drum washer and 
then dropped into the drainers to drain. It 
is always best to allow the fibers to drain thor- 
oughly before using as this helps to prevent 
bleeding. 


In making the mottled papers the fibers 
are added in the percentages desired, usually 
from 1% to 5%, after the stock to which they 
are to be added has been beaten and the roll 
raised. This is done so that the fibers will be 
as long as possible and show up well. 


The background or the main component 
of the paper is usually bleached sulfite, rag, or 
a combination of the two, depending on whether 


19 


Dyeing the fibers 


The background 
may be dyed or 
left uncolored 


For tissues and 
other light weight 
papers 


Acid colors are 
recommended 


Pontamine Black EX 
for deep shades 


the sheet is blotting, writing, cover, etc., and 
may either be dyed or be made natural color. 


If the background is to be dyed it should 
be colored first and the fibers thrown in after 
the size and alum have been added so that no 
color will be taken up by the fibers. 


DIPPING PROCESS 


Some light weight papers, particularly tis- 
sues, are colored by the dipping process, in 
which the sheet is run over a felt or rubber 
roll, the lower portion of which turns in a color 
solution. The sheet is then run between 
squeeze rolls to get rid of the excess color and 
then over the dryers. 


When tissue paper is to be creped it is run 
over a steel roll against which is fitted a steel 
doctor blade that wrinkles or crepes the paper 
before it is dried and then it is run over the 
dryers. 


Acid colors are always recommended for 
dipping as they work better than the other 
types. The brighter shades are sometimes ob- 
tained with some of the basic dyes such as 
Methylene Blue, Methyl Violet, Crystal Violet, 
Rhodamine and Auramine. In making crepe 
tissue an alkaline adhesive is sometimes used 
in the color solution to make the sheet cling to 
the steel roll, and thus assist in the crepeing. 
This adhesive usually has an effect on the basic 
dyes and prevents their use for this work. 


With the exception of Pontamine Black 
EX, the direct colors are not used to any extent. 
This direct black finds large use for the produc- 
tion of deep blacks on dipped tissues. 


20 


CALENDER COLORING 


Some of the heavier papers and boards are For heavier papers 

colored by the calender-coloring process. This 2"¢ >o2tds 
process puts a thin film or stain, of color on 
either one or both sides of the sheet and is 
more economical than beater dyeing, the two 
sides being alike or dissimilar. 
One or more color boxes are arranged on 
the calenders so that one or more rolls are cov- 
ered with a film of color solution. The pressure 
of the calender rolls limits the quantity of color 
that is carried through to such an extent that 
the sheet is practically dry by the time it leaves 
the calender stack. 


Acid colors are usually recommended as in Acid dyes usually 
the dipping process, but basic and direct colors '°ommende4 
of particularly good solubility may be used. To 
produce a given shade the solution must be 
much more concentrated than in the dipping 
process, and the color which requires a large 
amount of water for solution or one that pre- 
cipitates easily will give trouble. 


The basic colors most commonly used for 
this work are DuPont Auramine, Du Pont 
Rhodamine B, Du Pont Safranine T Extra and 
Du Pont Methylene Blue ZX. Of the direct 
colors Du Pont Brilliant Paper Yellow Concen- 
trated and Pontamine Black EX are the most 
commonly used. 


COATED PAPERS 


In a coating mill the color is applied to the Ingredients of the 
finished sheet of paper in a solution of casein, ©°?0"® ™*'re 
mixed with clay and sometimes wax, starch 
and satin white. The casein is first cut with 
approximately 10% to 15% of its weight of 


21 


Brushes smooth 
out the ccating 


Dyestuffs used 


borax. Soda ash is sometimes added as a pre- 
servative for the casein, and ammonia is some- 
times used to make the coating more water- 
proof. The satin white, clay, or other con- 
stituents, and the color are added to the casein, 
the whole forming a very thin paste. 


The sheet is run through this paste after 
which it is run under a series of brushes 
ranging from coarse to fine. These brushes 
vibrate back and forth smoothing out the coat- 
ing, the last set of fine brushes leaving a thin 
uniform film of the paste on the sheet. 


The sheet is conducted through hot air 
lofts to dry it, and finished in the calenders. 


Acid colors of good solubility are recom- 
mended for this work, although certain basic 
dyestuffs such as Du Pont Methylene Blue ZX 
and Du Pont Auramine are sometimes used. A 
few of the direct colors, particularly Ponta- 
mine Yellow SXP and SXG are also suitable for 
this work. 

The coating mixture is alkaline, and it is 
therefore necessary to use colors not too sen- 
sitive to alkali. 


22 





ii = 


= 
: 


CHAPTER III 


CLASSES OF COLORS USED FOR PAPER 


N the dyeing of paper four classes of dye- 
stuffs are used. 


BASIC COLORS 


The basic dyestuffs appear on the market 
in the form of salts, such as hydrochloride, oxa- 
late, or double zinc salts of certain color bases. 
These are the most important for the paper 
trade because of their great brilliancy and tinc- 
torial power. However, they are seldom used 
in very high grade papers except in small 
quantities to brighten the shade. Their fast- 
ness to light is very poor, the paper fading 
almost to the color of the stock in one or two 
hours of exposure to direct sunlight. As the 
classes of paper on which these colors are used 
are usually not of a permanent nature, this fact 
is not particularly objectionable. 

All basic colors can be dissolved together, 
but should not be mixed or dissolved with acid 
or substantive colors, as they would thereby 
be precipitated as color lakes and would not 
only be wasted, but the precipitate would be 
apt to produce spots in the finished paper. 

Basic dyes are very sensitive to hard wa- 
ter, containing bicarbonate of lime, or magne- 
sium or any free alkali which tends to precipi- 
tate the free color base. Solutions of basic 
dyes, with the exception of Auramine, Chrysoi- 
dine and Basic Brown, may be boiled, but they 


23 


Basic colors are 
very brilliant 


Basic dyes 
cannot be 
mixed with acid 
or direct colors 


Basic dyes are 
sensitive to hard 
water 


Acid colors dye 
evenly 


Acid colors give 
better results if 
dissolved before 
adding to the 
beater 


can all be dissolved at a temperature around 
160° F., which is preferable. When dissolving 
mixtures. of dyestuffs, and especially basic 
colors, care should be taken that all of the com- 
ponent colors are completely dissolved to avoid 
variations in shade. It is better to strain the 
solution through a fine sieve to insure removal 
of undissolved material. 


ACID COLORS 


Acid colors appear on the market in the 
form of salts of the color acids. 


Their tinctorial power generally is poorer 
than that of the basic dyes, but because of 
their brightness and even dyeing, they are 
widely used. They require size and alum to 
hold them on the fiber. Experience has shown 
that raising the proportion of size increases the 
strength of the color more than adding a larger 
quantity of alum. Metallic salts, such as lead 
acetate, calcium chloride, aluminum chloride, — 
aluminum acetate, when used in quantities of 
1% or more, all tend to increase the strength 
of this class of color. 


Acid colors can be mixed with the substan- 
tive colors without the precipitation of a color 
lake, as occurs with basic dyes. This class of 
colors is, in mill practice, usually added to the 
beater in the dry form. Better results will be 
obtained if the dyestuffs are dissolvéd. Acid 
dyes are not very sensitive to heat and can be 
dissolved at a temperature a little below the 
boil. They are not particularly sensitive to cal- 
cium or magnesium bicarbonate and sulfate in 


_ water, except when the calcium or magnesium 


salts of the color acid are insoluble. 
24 





To increase the fastness to light and to 
obtain deeper and more brilliant shades, pulp 
is sometimes dyed with a bottom of acid colors 
and topped with a basic dye. This color lake 
produced from acid and basic colors makes a 
fuller dyeing than can be obtained by acid colors 
alone, and is sometimes cheaper, and in addi- 
tion is much faster to light than if made from 
basic dyes only. 

Acid colors have a tendency on bleached 
sulfite to remain on the surface of the sheet, 
and often, where excessive heat is used, the 
color will dry on the surface in spots. 


DIRECT COLORS 


The substantive or direct cotton dyes are 
salts of color acids which do not require acid 
(or in the paper industry, alum) to develop 
their tinctorial power. They dye cellulose di- 
rectly without the addition of any mordant or 
fixing agent. They are used largely to dye un- 
sized blottings, and the colored fibers used in 
mottled blotting, cover, envelope, and similar 
papers. 

As a class, substantive colors have lower 
tinctorial power than acid or basic colors, but 
those that find application in the paper indus- 
try, are in most cases, faster to light and other 
deteriorating influences. Most substantive 
colors are sensitive to hard water, some of the 
color being precipitated in the form of insoluble 
lime or magnesium salts. 

These colors are best dyed with the addi- 
tion of common salt in order to exhaust them 
more fully. In very deep shades, it is advan- 
tageous to heat the stock to about 140° F. In 
general, paper mills do not follow this proced- 


25 


Topping with 
basic dyes 


Used largely for un- 
sized blottings and 
for mottling fibers 


Direct colors 
give colorless 
backwaters 


Strength shown 
depends on length 
of beating 


Soda ash brightens 
the shade 


Ponsol colors are 
used as pigments 


ure even though it would save some of the 
waste of color in the backwaters. 

In general, substantive colors give almost 
colorless backwaters. In heavy shades, when 
there is a tendency to bleed, a small amount of 
alum will clear up the backwaters of a majority 
of the direct colors, although in most cases, the 
shade is reddened. | 


It might be well to state here that the 
strength shown by these colors depends to a 
considerable extent on the beating, and this 
accounts for the variance between laboratory 
dyeings and mill runs in color strengths. In 
general, it might be stated that about 60% 
to 80% as much color will be required in the 
mill as in the laboratory to produce the same 
shade. This applies principally to the medium 
and deeper shades, the difference in laboratory 
samples and mill runs in tints and light shades 
being much less. 


Soda ash tends to brighten nearly all of 
the direct colors, and it will often be found ad- 
vantageous to use this in small amounts where 
it will not appreciably affect the sizing quali- 
ties. 


PONSOL COLORS 


The Ponsol colors or the vat colors of the 
anthracene series, in so far as paper dyeing is 
concerned, are used in the form of insoluble 
pigments. They appear on the market in the 
form of pastes or powders, and are used only 
in the tinting of high grade papers. They are 
fast to acid and alkali and may be considered, 
from the paper maker’s point of view, as abso- 
lutely sunproof. 


26 





HELIOPONT COLORS 


Of late years, there have appeared substi- 
tutes for the vat colors mentioned above. 
These are sold by the Du Pont Company under 
the name of Heliopont colors. They are not so 
fast to alkali or light as the Ponsol colors, but 
are far superior to any other aniline colors in 
fastness to light. They appear on the market 
in the form of pastes and powders, the latter 
being very distinctly preferable because they 
are easier to handle in the mill and give more 
uniform shades. 

The Heliopont colors are added to the 
beater in the dry powder, though they may be 
mixed with water into a thin paste and meas- 
ured by the cup, pint, or quart. 


PIGMENTS 


Pigments used in the coloring of paper 
pulp are of two types: colored insoluble inor- 
ganic compounds, such as Prussian Blue, lead 
chromate, Ultramarine, etc., or, insoluble or- 
ganic compounds which are true dyestuffs, such 
as the Ponsol and Heliopont colors. These 
latter dyes are discussed under the aniline dyes. 
On the border line between insoluble pigments 
and soluble aniline dyestuffs may be considered 
such products as Soluble Prussian Blue. 


True pigments differ from dyestuffs in that 
there is no direct coloring or absorption by the 
paper stock in the beater, but merely a me- 
chanical entanglement of the insoluble colored 
body. The depth of the coloration of the paper, 
therefore, depends largely on the degree of 
sizing, the character of the stock, (slow stock 
retaining larger amounts of the pigment than 


27 


Heliopont colors 
are faster to 

light and alkali 
than other aniline 
colors 


Prussian Blue, 
lead chromate, etc. 


Pigments differ 
from dyes 


Earth pigments 


Pigments are low 
in tinctorial 
power 


a free stock), and also on the type and opera- 
tion of the paper machine. Strong suction, 
either at the suction box or by the suction roll, 
tends to produce a two-sided effect on the paper, 
the top side being more strongly tinted or col- 
ored than the wire side. With strong suction, 
or with a free stock, there is a tendency to lose 
a higher percentage of pigment in the back- 
water, the pigment behaving exactly like clay 
or other loading material. Pigments, if used 
in large amounts, have a decided weakening 
action on the paper, acting in this way also 
like ordinary loading material. 


The earth pigments, such as ochre and 
Turkey umber, should be tested for grit. Grit, 
if present in any appreciable quantity, is very 
apt to cause pinholes in the sheet, thus causing 
frequent breaking of the paper while it is going 
over the machine. It also has an abrasive ac- 
tion on the felts, wires and calender rolls, tend- 
ing to wear them out quickly. 


Pigments, as a rule, are very low in tinc- 
torial power. The following comparisons ob- 
tained by laboratory trials, will give some idea 
of the tinctorial strength of a few of them in 
comparison with aniline dyestuffs. 400 parts 
of Turkey umber were matched with 100 parts 
of a fast aniline dye mixture, or with 18 parts 
of a cheaper and less permanent basic dye mix- 
ture. 400 parts of red oxide were replaced with 
84.4 parts of a fast aniline dye mixture, or 
with 34.6 parts of a cheaper basic aniline dye 
mixture. 400 parts of French ochre could be 
replaced with 8 parts of an aniline dye mixture, 
while 48 parts of chrome paste were replaced 
with 1 part Du Pont Auramine Concentrated. 
The low tinctorial power and other drawbacks 


28 





have, gradually, to a large extent, caused their 
- gubstitution by aniline dyes. 

Certain of the pigments, such as red oxide, 
for example, are characterized by great per- 
manence and resistance to light and chemicals. 

The inorganic pigments used as colors to 
tint or color paper stock in the beater are of 
very minor importance in comparison with the 
aniline colors and the individual pigments will 
receive only a brief consideration. 


This yellow pigment usually appears on the 
market in the form of the paste, but the mill 
may color the stock by adding a solution of lead 
acetate (sugar of lead) to the beater and, after 
a short time, when the lead acetate is thor- 
oughly mixed with the fiber, precipitating it in 
place by means of a solution of sodium or po- 
tassium bichromate. By this latter method it 
is difficult to hold the shade of each individual 
beater uniform, as the temperature, concentra- 
tion and alkalinity of the water tend to vary 
the shade. Heat and especially alkali change 
the bright lemon shade to an orange cast. 
Canary paste is darkened by hydrogen sulfide 
or by any sulfates that may be left in the stock. 


Yellow ochres and siennas are natural sili- 
cates, the ochres containing hydrated oxide of 
iron, the siennas containing manganese oxide. 
The color varies from yellow to brown, the 
tinctorial power being very low. | 


Umbers are complex natural silicates of a 
brown shade containing a higher percentage of 
manganese oxide than is found in the siennas. 


29 


Chrome Yellow or 
Canary Paste 


Ochres and Siennas 


Umbers 


Sap Brown At one time Sap Brown was used in large 
quantities on all grades of paper. With the 
advent of aniline colors, which are much easier 
to handle, the use of this product was discon- 
tinued by a large percentage of the mills and 
at the present time only limited quantities are 
used. For cheap wrappings it has been sub- 
stituted with combinations of basic colors such 
as Chrysoidine, Methyl Violet and Victoria 
Green. On higher grade papers, where fast- 
ness is essential, the same shade may be ob- 
tained with direct or acid combinations. 


Sap Brown is used in the paper mill as a 
dyestuff rather than a pigment. It is low in 
tinctorial power, difficultly soluble, sensitive to 
hard water, and is difficult to apply so as to 
obtain uniform shades. 


Lamp Black, The various kinds of lamp or carbon 
Paris Black blacks produced as soot by the incomplete com- 
bustion of various oily organic compounds are 

used to some extent for the production of black 

or gray papers. Lamp black has a tendency to 

streak and speck the paper and rub badly and 

is a decided nuisance in the beater room, as 

due to its fine state of division and low specific 

gravity, it is apt, through careless handling, 

to get into the air and later settle in the form 

of soot. In order to avoid this nuisance it is 

a good plan to weigh the requisite amount of 

lamp black into a paper bag and to throw bag 

and all directly in front of the roll so that it is 
incorporated at once with the pulp. Uniform 

results in shade regardless of the length of 

time of beating are practically unobtainable. 
Mixtures of basic dyes are gradually replacing 

lamp black, while for higher grades of paper, 


30 





direct blacks, shaded by direct yellow, or other 
shading colors are used. 


Red oxide, an oxide of iron, is used to some 


Red Oxide 


extent for the coloring of cheap roofing, red _ 


rosin-sized papers, and a few other products. 
The various kinds of red oxide, while very per- 
manent and unaffected by alkali, have the gen- 
eral drawback of other pigments. 


Various Prussian blues, both as pigments 
and in soluble form, being fast to light, are used 
extensively in tinting and coloring paper. They 
are very sensitive to alkali, a great draw- 
back to their use in oatmeal wall paper and 
hanging papers, as freshly plastered walls or 
alkaline glues affect the color. These have a 
tendency, however, to produce two-sided effects. 

A pigment green made by coloring stock 
in the beater with chrome yellow and Prussian 
blue is occasionally used, but the results are not 
nearly as satisfactory as those which may be 
obtained with aniline colors. 


Ultramarine, a double silicate of sodium 
and aluminum containing some sodium sulfide, 
is used for tinting the higher grades of white 
paper, but its use is decidedly limited by its 
sensitiveness to acids and alum. 


31 


Prussian Blue 


Ultramarine 


CHAPTER IV 


NOTES ON THE MORE IMPORTANT 
DU PONT COLORS FOR PAPER 


BASIC COLORS 


CaaS u PONT Auramine O is a basic dyestuff of 
O Extra, and high tinctorial strength suitable for the 
Concentrated 


coloring of the cheaper grades of paper, where 
no special fastness to light is required, such as 
the cheaper colored hangings, poster, wrapping 
(both sulfite and Kraft), tissue, board, glassine, 
etc. 


It is also suitable for calender coloring and 
dipping as well as for coating purposes. Owing 
to its brightness and also its cheapness as com- 
pared with acid yellows of similar shade, it is 
used in large quantities in the production of 
lemon and canary yellow on all grades of bond. 
It is used for topping various acid oranges, and 
for shading the basic browns, blues and greens 
in the production of the various Kraft brown 
shades of wrapping paper. It is probably the 
most extensively used dyestuff in shading or 
brightening sulfate or Kraft papers. 


This dyestuff in solution is very sensitive 
to heat and should not be dissolved at a tem- 
perature above 160° F. 


Du Pont Auramine is offered to the trade 
in three concentrations; Du Pont Auramine O 
being 60%, and Du Pont Auramine Extra, 80% 
of the strength of the concentrated brand. 


32 





_ Chrysoidine is placed on the market in 
both red and yellow shades, both shades being 
used extensively in wrapping paper, usually in 
~ combination with Auramine, Victoria Green, 
Methyl Violet, etc., for the production of brown 
shades. In a majority of cases the yellower 
brand is desired because of its brightness. 


The largest use for Chrysoidine is in the 
manufacture of fiber container boards and other 
grades of boxboards. The combination of Du 
Pont Chrysoidine GN and Du Pont Basic Brown 
BR will produce the brightest shades of brown 
possible, while the duller shades are produced 
with Du Pont Chrysoidine R in combination 
with Du Pont Basic Brown G or GX. Chrysoi- 
dine also competes with the acid oranges in the 
manufacture of leather-board. 


Du Pont Basic Browns BR and GX, two 
brands representing the red and yellow shades 
of Basic Browns, serve as a basis, in combina- 
tion with other basic dyes, for the various 
Kraft, brown and chocolate shades on Kraft, 
sulfite and other cheap wrapping papers. The 
BR brand is the most commonly used as it is 
brighter and gives a more desirable shade. 
Like Du Pont Chrysoidine, the Du Pont Basic 
Browns are extensively used for leather-boards 
and boxboards, also in many of the basic mix- 
tures commonly known as Kraft browns. 


Du Pont Rhodamine B is a very bright 
bluish red, mainly used for tinting and in con- 
junction with tinting blues, for shading whites. 
It has the advantage of working equally well on 
all kinds of stock. Du Pont Rhodamine is also 


33 


Du Pont 
Chrysoidines R 
and GN 


Du Pont Basic 
Browns BR 
and GX 


Du Pont 
Rhodamine B 
and B Extra 


Du Pont Paper Blue 
R Concentrated 
and Du Pont 
Methyl 

Violet NE 


Du Pont News Blue 
B Concentrated 
and BN 


suitable for dyeing by the dipping process and 
for use on coated papers. 

This product is offered in two strengths, 
Du Pont Rhodamine B Extra being five times 
the strength of Du Pont Rhodamine B. The 
stronger brand is seldom used in the paper 
trade because when used on tints, very slight 
errors in the amount of color used will throw 
off the shade. 


Du Pont Paper Blue R Concentrated and 
Du Pont Methyl Violet NE are suitable for the 
production of all violet shades. For the produc- 
tion of deep blues, these violets are used for 
topping direct colors. In combination with 
basic greens, they produce a series of deep 
blues, but these change to a reddish shade un- 
der artificial light. By using a combination of 
Du Pont Methylene Blue ZX, and a little basic 
violet, this can be avoided. 

Du Pont Paper Blue R Concentrated alone 
is used extensively for tinting newsprint paper, 
being the brightest product for this use, but 
both basic violets are used considerably, the 
shades being thrown over to the red or blue 
side when necessary by the addition of Du Pont 
Methylene Blue or Du Pont Rhodamine. 

Du Pont Methyl Violet NE in combination 
with Du Pont Victoria Green Small Crystals 
and DuPont Chrysoidine GN is universally 
used for producing deep blacks and browns. 

These basic violets are suitable for calen- 
der coloring, dipping and for coating. 


Du Pont News Blue B Concentrated and 
BN are dyestuffs manufactured especially for 


34 





the tinting of cheap papers such as news, cheap 
book, etc. Alone or shaded to the red with 
Du Pont Rhodamine B or other pinks they pro- 
duce clear bright shades. 


Du Pont Methylene Blue ZX is used for the 
production of clear blue shades, which are but 
little affected by artificial light, and in conjunc- 
tion with Du Pont Crystal Violet Powder, Du 
Pont Paper Blue R Concentrated, or Du Pont 
Methyl Violet NE and Du Pont Rhodamine B, 
for tinting whites. It can also be used for 
calender coloring and coating. 


The various properties of Du Pont Victoria 
Green Small Crystals make its use advantage- 
ous on sized or non-sized wood pulp and for 
coating, calender work and dipping. It is used 
extensively for the production of various shades 
of green; with Du Pont Auramine, bright yel- 
lowish green shades are made, with Du Pont 
Chrysoidine GN or the Du Pont Basic Browns, 
olive green shades. For deep blues a very 
economical combination can be made with Du 
Pont Methyl Violet NE or Du Pont Paper Blue 
R Concentrated. 


Du Pont Victoria Blue BX is the brightest 
of the basic blues and is used whenever a bril- 
liant shade of blue, which does not need to be 
fast to light, is desired. 


It is especially recommended for brilliant 
blue shades on wrapping, tissue and other cheap 
papers. Alone or shaded with the Du Pont 
Basic Violets or Du Pont Victoria Green Small 


35 


Du Pont Methylene 
Blue ZX 


Du Pont Victoria 
Green Small 
Crystals 


Du Pont Victoria 
Blue BX and B 
Concentrated 


Du Pont 
Fuchsine Powder 
Concentrated 


Du Pont 
Safranine T Extra 


Crystals, it is used in the production of all 
bright blue shades varying from violet to green. 


When dissolving this color, as it is quite 
sensitive to hard water or alkali, it is advisable - 
to add a small amount of acetic acid. If used 
in a concentrated solution, there is danger of 
mottling the sulfite stock in the ground wood 
and sulfite furnish. 


Du Pont Fuchsine Powder Concentrated is 
widely used for magenta shades. In combina- 
tion with DuPont Orange RO or Du Pont 
Orange II Concentrated, it produces deep reds. 
Cheap black combinations can be made with 
mixtures of Du Pont Fuchsine Powder Concen- 
trated, Du Pont Victoria Green Small Crystals 
and Du Pont Basic Browns. At the present 
time DuPont Fuchsine Powder Concentrated 
finds considerable application in the tinting of 
cheap grades of white paper, and is used some- 
what in calender coloring cheap boxboards. 
The largest prewar consumption was for the 
manufacture of wrapping paper. 


This product is not quite as soluble as 
many other basic colors and care must always 
be exercised in a mill to see that the solutions 
are not concentrated, in order to avoid having 
any of the color settle out in the mixing tank. 


Du Pont Safranine T Extra is one of the 
brightest of the basic reds and is used wherever 
a brilliant, cheap red, of no great fastness to 
light, is desired. It may be used on unsized 
paper as well as sized, this property being of 
particular interest to the blotting trade. When 
used with all rag stock, no alum is required for 
retention. When mixed with Du Pont Aura- 


36 





mine and Du Pont Rhodamine B, beater scarlets 
of excellent brilliancy are obtained. Its prin- 
cipal use is for the production of bright pink 


and red shades on wrapping and medium grade 


papers. 

This color is one of the most widely used 
in the paper trade. When used in a mill, care 
must be taken to avoid mottling, particularly on 
mixed furnishes, as it has decided affinity for 
sulfite. 


ACID COLORS 


The acid colors are extensively used in 
tinting and coloring the higher grades of writ- 
ing, book, hanging, cover, fiber and wrapping 
papers, roofing and leather-board, and in the 
dipping of tissues and the calender coloring of 
board. 


Du Pont Metanil Yellow Concentrated is 
used extensively as a calender color for produc- 
ing the yellow shades of fiber container board, 
and for coating and dipping. It is suitable for 
producing goldenrod shades where extreme 
fastness is not essential. 


All brands of Metanil Yellow are sensitive 
to acid and care must be exercised to prevent 
the use of an excess of alum. On this account 
it often makes a bad impression in a mill and 
many concerns are opposed to its use. It is 
also somewhat sensitive to the heat of the 
dryers. However, because of its relatively low 
price its consumption is very large, and it finds 
extensive use in the production of yellow and 
buff shades of container board and boxboards, 





Du Pont 
Metanil Yellow 
Concentrated 


Du Pont 
Tartrazine O 


Du Pont Orange II 
Concentrated 


Du Pont Orange RO 


It is also used in considerable amounts for 
shading Kraft wrapping. 


Du Pont Tartrazine O has little affinity for 
the fiber and cannot be used as a beater color. 
It is, however, one of the best acid yellows ob- 
tainable for calender coloring, dipping and coat- 
ing. It is bright canary yellow which is ex- 
tremely fast to light, being so superior to most 
other soluble aniline yellows that it is in a class 
by itself. 


Du Pont Orange II Concentrated produces 
bright orange shades on practically all grades 
of stock. In combination with Du Pont Bril- 
liant Crocein FL,-.it produces brilliant scarlets; 
shaded with DuPont Victoria Green Small 
Crystals, olive greens. Like other acid colors 
it requires size and alum to hold it on the fiber. 
It is used considerably in the production of 
leather-board and finds wide application in the 
manufacture of building and roofing papers, be- 
sides being suitable for beater dyeing, coating, 
calender coloring and dipping. 


Du Pont Orange RO is much redder and 
brighter, and also stronger, than Du Pont 
Orange II Concentrated. It has better affinity 
for the fiber and gives clearer backwaters in 
heavy shades. Its principal advantage is that 
it is non-foaming. Even when used in large 
quantities it causes very little foam and there- 
fore gives much less trouble than the other acid 
oranges which always foam in the screen, head- 
box, and on the wire. 


Du Pont Orange RO is somewhat faster 









to light than Du Pont Orange II Concentrated, 
and is used extensively for all grades of sized 
papers. In combination with the acid or direct 
yellows any shade of orange may be produced. 
With Du Pont Brilliant Crocein FL or Du Pont 
Safranine T Extra, it produces brilliant scar- 
lets and oxbloods. It is very soluble and is 
especially suitable for calender coloring, dip- 
ping and coating. 


Du Pont Phloxine B, Du Pont Erythrosine 
B and Du Pont Rose Bengal are used for bright 
pinks on sized papers, especially on stock free 
from ground wood. They are not especially 
fast to light but the fastness and also the blue- 
ness of the shade may be increased by the addi- 
tion of lead acetate. They are also most suit- 
able for dipping and coating, Du Pont Phloxine 
B being used extensively for this work as it pro- 
duces a brilliant shade unobtainable with other 
dyestuffs. 


Pontacyl Fast Red AS is especially adapted 
for use on unbleached fibers, for which it has a 
greater affinity than the majority of acid dye- 
stuffs. On account of its dullness, its use in 
higher grade papers is limited. Its reasonable 
price, however, causes it to be used consider- 
ably in the production of acid mixtures. 

Pontacyl Fast Red AS is suitable for use 
in the duller shades of pink to full reds on 
wrapping and other cheap papers. Alone, or 
shaded to the yellow with Du Pont Orange RO 
or Du Pont Orange II Concentrated, it is used 
as a substitute for red oxide in building papers. 

It is sensitive to alum, an excess tending 
to throw it yellower and duller.’ 


39 


Du Pont 

Phloxine B, 

Du Pont 
Erythrosine B and 
Du Pont 

Rose Bengal 





Pontacyl 
Fast Red AS 


Pontacyl Rose P 


Pontacyl Ruby PL 
Concentrated 


Du Pont Brilliant 
Crocein FL 


Pontacyl Blue R 


Pontacyl Rose P produces brilliant bluish 
pinks, possessing good fastness to light. It is 
especially useful as a shading red for the tint- 
ing blues. 


Pontacyl Ruby PL Concentrated is a bluish 
pink, the distinguishing characteristic of which 
is excellent fastness to light. This makes it 
especially valuable for the production of pinks 
on bonds, writing and other high grade papers, 
and as a shading pink for the various tinting 
blues on the same classes. It has very good 
affinity for the fibers and gives practically clear 
backwaters. 


Du Pont Brilliant Crocein FL has several 
characteristics which place it above all other 
colors of its type. It is extremely fast to light, 
being several times faster than the ordinary 
Crocein Scarlet. It has very good affinity for 
the fibers and gives clear backwaters, even in 
heavy shades. No trouble is experienced by 
foaming in the beaters or on the machine as is 
usually the case with other acid scarlets. 


Du Pont Brilliant Crocein FL is used in the 
production of pink bonds, writing, wall, cover 
and other papers where extreme fastness is 
desired. By shading it with Du Pont Brilliant 
Paper Yellow Concentrated, extremely fast to 
light salmon shades are produced. By using 
it in combination with DuPont Orange RO, 
brilliant, full scarlets may be obtained. 


- 


Pontacyl Blue R works well as a beater 
color producing clear, bright blues of moderate 
fastness to light.. It is used for tinting whites, 


40 








but its principal use is in calender coloring and 
the dipping of tissues. Alone and in combina- 
tion with Pontacyl Green B or Pontacyl Light 
Green SF Yellowish or Pontacyl Violet 4BL a 
wide variety of brilliant blue shades may be 
obtained. 


Du Pont Soluble Blues R and 8R are red- 
dish shades of blue which are used extensively 
for tinting whites on all grades of paper from 
newsprint to bond. Their fastness to light is 
very good. 


Pontacyl Fast Blue R is very fast to light 
and dyes evenly on sized papers of all grades of 
stock. It is a very good tinting white for all 
grades of paper where some degree of fastness 
to light is essential. The solubility is good so 
that it works well as a calender color or for 
dipping tissue or for coating. 

Pontacyl Fast Blue R is a very economical 
color to use for all purposes. 


Pontacyl Green B has fairly good at 
for the fibers, is fairly fast to light and is suit- 
able for producing light greens on bond and 
other medium grade papers where moderate 
fastness is desired. 

It is used either alone or in combination 
with other colors for dipping tissues and for 
calender coloring. With Pontacyl Violet 4BL 
or Pontacyl Blue R, it produces a wide variety 
of brilliant shades. 


Pontacyl Green SON cannot be used to ad- 
vantage as a beater color, as it has little affinity 


41 


Du Pont Soluble 
Blues R and 3R 


Pontacyl 
Fast Blue R 


Pontacyl Green B 


Pontacyl 
Green SON 


Pontacyl 
Light Green SF 
Yellowish 


Pontacyl 
Blue Black SX 


Du Pont Nigrosines 
WSB Powder and 
WSJ Powder 


for the fibers, but its good solubility makes it 
very suitable for calender coloring, dipping and 
coating. It is bluer in shade than the other 
acid greens. : 


Pontacyl Light Green SF Yellowish is the 
yellowest of the acid greens and is used to some 
extent for the production of light green bonds 
and writings. Its principal use is for calender 
coloring, dipping of tissue and coating. 


Pontacyl Blue Black SX has the advantage 
of dyeing equally well on various stocks and is 
used for producing uniform light and deep steel 
blues, both in the beater and on the calenders. 
These blues can be shaded to bluish black by 
using Du Pont Soluble Blue R and topping with 
Du Pont Methyl Violet NE, and when shaded 
with Du Pont Orange RO and Du Pont Metanil 
Yellow, it will produce full black shades which 
have the advantage of not showing any bronzy 
effects. It is a very satisfactory product for 
calender coloring, coating and dipping. 


Du Pont Nigrosines WSB Powder and WSJ 
Powder are both used extensively for the pro- 
duction of grays on all grades of paper ranging 
from chip board to high grade bonds. They 
have the advantage of producing very uniform 
dyeings even in light tints, which makes them 
valuable colors for shading purposes. They are 
also suitable for calender work, coating and 
dipping, and may be considered the fastest to 
light of any of the blacks used on paper. WSB 
is the blue shade and WSJ the jet shade. 





DIRECT OR SUBSTANTIVE COLORS 


_ The direct or substantive colors are used 
for dyeing the higher grade wall papers, espe- 
cially oatmeal papers, for writing, book, cover, 
blotting and parchment papers, vulcanized 
fibers, etc. They are especially well suited for 
dyeing blotting papers and mottling fibers. The 
use of direct colors gives, in most cases, a per- 
fectly clear backwater. This is especially true 
if a small amount of alum, any amount over 
4 lbs. per 1000 lbs. of stock, is used. : 





Pontamine Yellow SXP is one of the most 
extensively used direct yellows for coloring 
both sized and unsized papers, such as blotting, 
bond, wrapping, oatmeal and other wall papers. 
Alone or in combination with other suitable 
colors it produces all shades of buff to deep 
goldenrod. Combined with Pontamine Green 
BX or GX, any shade of moss green blotting 
may be obtained. 


- Pontamine Yellow SXP is very suitable 
for coating papers and competes with French 
ochre for this work, giving a brighter and more 
uniform shade. 


Pontamine Yellow SXG possesses about 
the same properties as Pontamine Yellow SXP, 
but is decidedly greener in shade. It is suitable 
for use in shades where the SXP brand is too 
red, its principal use being for shades ranging 
from India tints to the greener goldenrods on 
medium to high grade papers. 


Pontamine Yellow SXG has good solubility 
and is suitable for use on coated papers. 


43 


Pontamine 
Yellow SXP 


Pontamine 
Yellow SXG 


Pontamine 
Yellow SXR 


Pontamine 
Yellow CH and 
CH Concentrated 


Du Pont 
Brilliant Paper Yel- 
low Concentrated 


Pontamine 
Fast Yellow 4GL 


Pontamine Yellow SXR is similar in prop- 
erties to Pontamine Yellow SXG and SXP, the 
shade being redder than that of the latter. Itis 
suitable for the redder shades of buff and 
goldenrod. 3 


Pontamine Yellow CH is greener in shade 
than Pontamine Yellow SXP, is much faster 
to light, and is extremely fast to alkali. For 
this reason it is used extensively for the color- 
ing of soap wrappers. It also finds consider- 
able use in the production of India tints, 
canary and buff shades on bond and other 
high grade papers. 


Du Pont Brilliant Paper Yellow Concen- 
trated is a very bright direct yellow of excep- 
tionally good tinctorial power for its class. Itis 
one of the fastest to light of the aniline yellows, 
and finds wide use in the production of bonds, 
cover papers, blotting and other papers where 
its sensitiveness to alkali will not interfere. 
Alkali turns it a bright red, but an excess of 
alum will often tend to overcome this feature. 


Du Pont Brilliant Paper Yellow Concen- 
trated has one advantage over all the other 
aniline yellows. It gives much less two-sided 
effect and for this reason its use is becoming 
more and more extensive in mills where the 
machines are equipped with suction couch rolls. 


Pontamine Fast Yellow 4GL is the greenest 
in shade of the direct yellows and is also very 
fast to light. It is suitable for the production 
of canary shades on bonds, blottings, and other 
sized and unsized papers. 


| 44 
A 





Pontamine Blue BBF and BBF Concen- 
trated are two strengths of a direct blue some- 
what dull in shade but used quite extensively 
in dyeing unsized as well as sized papers. 74 
parts of the OOS te aba ia brand equal 100 parts 
of the single strength. | 

fe ptsscsses ep pi: Ptieas to light 
and is one of the most economical direct blues 
to use. It finds extensive use in the oatmeal 
wall paper trade and also in wrapping and other 
papers where some degree of fastness is de- 
sired. 4% ‘ " t % 

od Ae 73 f . 4 

Pontamine Blue AX is a direct blue of a 
red shade, used for blues on sized and non-sized 
papers; for dyeing stock to be used for mottled 
or granite papers; and in conjunction with 
Pontamine Black EX for the production of the 
deepest black blues for all grades of paper. Itis 
fairly fast to light and this fastness may be de- 
cidedly increased by the addition of copper 
sulfate. 






Pontamine Sky Blue 5BX is used for the 
production of mottled fibers for granite papers 
and for light blue shades on bond and other 
high grade papers. 50 parts of the 5BX Con- 
centrated brand equal 100 parts of the 5BX. 


Pontamine Sky Blue 6BX, the greenest and 
brightest of the direct blues, finds extensive use 
in the production of fast to light blue shades on 
all grades of paper. Alone, or shaded with 
Pontamine Blue AX and treated with copper 
sulfate, various shades of blue, which are ex- 


45 


Pontamine 
Blue BBF and 
BBF Concentrated 


Pontamine 
Blue AX 


Pontamine 
Sky Blue 5BX and 
5BX Concentrated 


Pontamine 
Sky Blue 6BX 


Du Pont 
Purpurine 4B 
Concentrated 


Pontamine 
Scarlet B and 
Pontamine Fast 
Scarlets 4BS 
and 8BS 


Pontamine 
Fast Red 8BL 


tremely fast to light, may be produced. It is 
used extensively for the production of colored 
fibers for granite papers. . 


Du Pont Purpurine 4B Concentrated is 
used extensively for the production of deep red 
shades on both unsized and sized papers such as 
blotting, wrapping, tissue, cover, etc. Vulcanized 
fiber mills use it extensively in the production 
of red shades and to brighten shades in which 
red oxide is used. It is one of the best colors 
obtainable for dyeing fibers for mottled or 
granite papers. . 


Du Pont Purpurine 4B Concentrated is 
very sensitive to acid and alum, and it is neces- 
sary to add about 1% soda ash to the beater 
to develop the full color and obtain even dye- 
ings. 


Pontamine Scarlet B and Pontamine Fast 
Scarlets 4BS and 8BS are direct scarlets which 
are suitable for the production of a wide range 
of reds from pink to scarlet on both sized and 
unsized papers. They possess good fastness to 
light and good solubility. 


The distinguishing characteristics of Pont- 
amine Fast Red 8BL are high tinctorial power 
and extreme fastness to light. It is stronger 
than any of the other direct reds or scarlets and 
is much superior in fastness to light. It is sur- 
passed in this respect by only one dyestuff, Du 
Pont Brilliant Crocein FL, the latter being an 
acid color. 


Pontamine Fast Red 8BL is bright bluish 
red in shade and is suitable for the production 


46 





of pink to red shades on all grades of paper, 
both sized and unsized, where fastness is essen- 
tial. 


Pontamine Fast Orange S works well on 
both sized and unsized paper, producing 
brilliant orange shades of good fastness to 
light. It is suitable for use on blotting, bond, 
cover and wall papers. 


Pontamine Red 12B Concentrated pos- 
sesses very good fastness to light and acid and 
is fairly fast to alkali. The shade is thrown 
slightly yellower by alum but is not dulled as 
are most of the direct colors. 


It is bright pink in shade and is suitable for 
use on blotting, cover, wall, bond and other high 
grade papers. 


Pontamine Greens GX and BX are the 
yellow and blue shades of a direct green par- 
ticularly suited for sized or non-sized papers 
and for dyeing cellulose fibers for mottled 
papers. They possess fairly good fastness to 
light. Both are widely used for the production 
of green blotting and cover papers and for color- 
ing vulcanized fibers. 


Pontamine Brown R is very fast to light 
and is very suitable for use on both sized and 
unsized papers such as blottings, cover, etc. 


Pontamine Brown D38GP is much yellower 
in shade than Pontamine Brown R, is very fast 
to light, but is somewhat sensitive to acid and 


47 


Pontamine 
Fast Orange S 


Pontamine Red 12B 
Concentrated 


Pontamine 
Greens GX and BX 


Pontamine 
Brown R 


Pontamine 
Brown D3GP 


Pontamine 
Diazo Black BH 
Concentrated 


Pontamine Blacks 
EX and EBN 


dulled by alum. The addition of soda ash will 
brighten the shade and make it yellower. 

It is very suitable for the production of 
tan and brown blottings and for brown cover 
and wall papers where good fastness is desired. 


Pontamine Diazo Black BH Concentrated is 
well suited for coloring both sized and unsized 
papers and finds considerable use in the manu- 
facture of deep blue shades of blotting and 
cover papers. 


Pontamine Blacks EX and EBN are, per- 
haps, the most widely used direct colors. Their 
fastness to light is very good and they are very 
suitable for the production of black shades on 
all grades of stock from cheap pattern to high — 
grade blottings and cover. By using a base of 
20 to 30 lbs. and shading with such basic colors 
as Du Pont Chrysoidine GN, Du Pont Methyl 
Violet NE, and Du Pont Victoria Green Small 
Crystals, any shade of black may be produced 
very economically. These colors are also used 
extensively in the production of black vulcan- 
ized and insulating fiber, especially the latter, 
as fiber for this purpose contains no free carbon 
such as lamp black. 

These colors are of excellent solubility and 
find wide use in the dipping of plain and crepe 
tissue and in coating. 


THE HELIOPONT COLORS 


These have been mentioned elsewhere but 
they are of sufficient importance to warrant a 
more detailed description and a more precise 
outline of the method of application. 


48 





Heliopont Blues R, M, G and 4G represent Heliopont 


green. The R brand is for the red or pinkish 
white, the M brand is very similar in shade to 
Ponsol Blue RP Triple Powder, but somewhat 
brighter and is the most suitable color for a 
_ neutral shade of white. The G and 4G are for 
the greener shades of white, and are also used 
in the production of light blues on bonds and 
similar papers. 

These colors may be thrown into the beater 
in the dry powder, or made into a thin paste 
with water, taking care that the mixture is 
stirred thoroughly before any is measured into 
the beater. As they have the properties of pig- 
ments it is well to give them as much time as 
possible in the beater to develop the full 
strength. 


Weak alkalies have no effect on them and 
they are fast to acid. In this respect, they 
have the advantage over Ultramarine, which 
is sensitive to acid to such an extent that the 
color “goes back” in stock which lies in the 
chest for any length of time. 


The Heliopont Blues are not approached in 
fastness to light by any of the soluble aniline 
blues and are surpassed by only one other type, 
the Ponsol colors. 


In the selection of a tinting blue it is ad- 
visable, in fact necessary, to use one which re- 
quires a small amount of a shading pink or red. 
The color of the stock changes from day to day 
and it is usually necessary to vary the amount 
of red in order to control the shade. The 
brightest, fastest, and most satisfactory whites 
are produced by using a blue which requires a 
minimum amount of shading red. If a green 


49 


four shades ranging from the red to the very ee R, M, G 


d4G 


Ponsol Blue RP 
Triple Powder 


Ponsol Blue 3GP 
Triple Powder 


shade of blue were used with a large amount 
of red to produce a pinkish white, the shade 
would be duller and less light resistant than it 
would be if a redder shade of blue were used. 

As a shading red to use in conjunction with 
the Heliopont Blues, we recommend Pontacyl 
Ruby PL Concentrated. This is a bright pink 
acid dyestuff of excellent fastness to light and 
is very satisfactory for this work. 


PONSOL COLORS 


This group far surpasses any other type 
of dyestuffs in properties. All of its members 
are fast to both acid and alkali, extremely fast 
to chlorine, not being affected by any chlorine © 
which might be left in poorly washed stock. 
And, in addition, inasmuch as they withstand 
sunlight indefinitely they may be called abso- 
lutely fast to light. 


Ponsol Blue RP Triple Powder has many 
advantages over any of the other tinting blues. 
As a paper color it may be called absolutely fast 
to light as it will resist direct sunlight in- 
definitely. 

Ponsol Blue RP Triple Powder is very suit- 
able for the tinting of whites and the produc- 
tion of light blue shades on high grade papers 
and specialties. 


Ponsol Blue 3GP Triple Powder is greener 
in shade than the RP Triple Powder brand, but 
possesses the same properties. It is suitable 
for shading the latter product to the green and 
for the production of blue tints on high grade 
papers. 


50 





Ponsol Yellow GP Double Powder possesses Ponsol Yellow GP 
the fastness properties typical of the group. It Povble Powder 
is suitable for the production of India tints and 
buff shades on high grade papers and specialites. 


51 


CHAPTER V 


A FEW SUGGESTIONS ABOUT COLORS 
BEST SUITED FOR DIFFERENT 
GRADES OF PAPER 


N this chapter we are recommending the 

most suitable colors for use on the various 
grades of paper and showing dyeings of cur- 
rent and special shades on some of the most 
generally used furnishes. 


nee grade 1. Colors particularly recommended for 
writing papers, 5 ae 
peoena high grade writing papers, bonds and book 


book papers papers: 


Du Pont Brilliant Paper Yellow Con- 
centrated 


Pontamine Fast Yellow 4GL 
Pontamine Yellows SXP and SXG s 
Pontamine Yellow CH and CH Con- 

- centrated 


Du Pont Orange RO 

Pontamine Fast Orange S$ 

Du Pont Brilliant Crocein FL 
Pontacyl Ruby PL Concentrated 
Pontacyl Rose P 

Pontamine Fast Red 8BL 

Ponsol Blue RP Triple Powder 
Heliopont Blues R, M, G and 4G 
Pontamine Sky Blues 5BX and 6BX 
Du Pont Soluble Blue R 

Pontacyl Green B 

Pontamine Brown D3GP 
Pontamine Black EX 

Du Pont Nigrosines WSB Powder and 


WSJ Powder 
The following samples were dyed on a fur- 
nish of 
1000 lbs. Bleached Sulfite 
20 lbs. Size 
25 Ibs. Alum 


52 





4 ozs. 


8 ozs. 


5 ozs. 


10 ozs. 


5 ozs. 


10 ozs. 


Ponsol Blue RP Triple 
Powder 


Ponsol Blue RP Triple 
Powder 


Heliopont Blue G 


Heliopont Blue G 


Heliopont Blue M 


Heliopont Blue M 





5 ozs. Heliopont Blue R 





10 ozs. Heliopont Blue R . 
. 
‘” 
d 
3 ozs. Pontamine Fast Red SBI, : 
4 
<a 
9 ozs. Du Pont Brilliant \ 
Crocein FL ' 

6 ozs. Pontacyl Ruby PL 
Concentrated . 
fi 
1 lb. Pontacyl Ruby PL » i 
Concentrated } | y 
i % t 
os ; 







ge OZS. ‘Du Pont Orange RO 
ini ozs. Du Pont Brilliant 
Crocein FL 








. “ozs. Da Pont Brilliant Paper | i 
5 Yellow Concentrated 
. Pontacyl Green B . ; 


1 “ozs. Du Pont Brilliant Bapel | ir 
Yellow Concentrated cs 
ozs. Pontacyl Green B 


= 





028. a Pont Brilliant et 
Yellow Concentrated 
Du Pont Orne RO 





“ ' F vy ’ . 
Ay Be e/a ’ 


2 lbs. Du Pont Auramine O 


8 ozs. Du Pont Auramine O 
8 ozs. Du Pont Brilliant Paper 
Yellow Concentrated 


2 lbs. Pontamine Fast Yellow 
4GL 


4 Ibs. Pontamine Fast Yellow 
4GL 


1 lb. 8 ozs. Pontamine Yellow 
SxXP 


9 ozs. Du Pont Brilliant Paper 
Yellow Concentrated 


38 ozs. Du Pont pene RO 





a 4 







7 Du Pont Brilliant Paper 
_ _ Yellow Concentrated 
; - Du Pont Orange RO 


ntamine Yellow SXP 


Bont. Retaris Green 
Small Crystals 7 
t Pont Auramine O 


Peikiine Sky Blue BX 
2 ae Sulfate 











taper Pontamine Sky Blue 6BX 
12 ozs. Pontacyl Green B 
_ 1% lbs. Copper Sulfate 


1 Ib. 8 ozs. Pontamine Sky 
Blue 6BX 

4 ozs. Pontacyl Green B 

8 lbs. Copper Sulfate 


12 ozs. Du Pont Nigrosine WSB 
Powder 


12 ozs. Du Pont Nigrosine WSJ 
Powder 


1 Ib. Du Pont Orange RO 
14 ozs. Du Pont Nigrosine WSB 
Powder 
10 ozs. Du Pont Brilliant Paper 
Yellow Concentrated 


1 Ib. Du Pont Orange RO 
10 ozs. Du Pont Nigrosine WSB 






Powder 
12 ozs. Du Pont Brilliant Paper 
_ Yellow Concentrated 


2. Colors which may be used for high Colors for 
grade writing paper, bonds, and book papers in Leda ati 
small quantities for brightening: 


Du Pont Auramine O 

Du Pont Rhodamine B 

Du Pont Methylene Blue ZX 

Du Pont ee Green Small Crys- 
tals 


Du Pont Safranine T Extra 


8. Colors particularly recommended for Permanent ; 
cover papers an 
permanent cover papers and wall papers: nip 


wall papers 

Du Pont Brilliant Paper Yellow Con- 
centrated 

Pontamine Yellow SXP 

Pontamine Fast Orange S 

Du Pont Orange RO 

Du Pont Brilliant Crocein FL 

Pontamine Fast Scarlet 4BS 

Pontamine Fast Red 8BL 

Pontamine Sky Blue 6BX 

Pontamine Blue AX 

Pontamine Blue BBF and BBF Con- 
centrated 

Pontamine Brown D3GP 

Pontamine Greens BX and GX 

Pontamine Diazo Black BH Concen- 
trated 

Du Pont Nigrosines WSB Powder and 
WSJ Powder 

Pontamine Black EX 


The following samples of cover papers were 
dyed on a furnish of 


500 Ibs. Bleached Rag 
500 lbs. Bleached Sulfite 
20 lbs. Size 

25 lbs. Alum 


59 


4 ozs. 


1% ozs. 


teulb. 


3 OZS. 


4 lbs. 


1 Ib. 


5 Ibs. 


ely). 


8 OZS. 


2 Ibs. 


Du Pont Brilliant Paper 
Yellow Concentrated 
Du Pont Orange RO 


Du Pont Brilliant Paper 
Yellow Concentrated 
Du Pont Orange RO 


Du Pont Brilliant Paper 
Yellow Concentrated 
Du Pont Orange RO 


Du Pont Brilliant Paper 
Yellow Concentrated 


Du Pont Nigrosine WSB 
Powder 
Du Pont Orange RO 


Du Pont Nigrosine WSB 
Powder 


60 





3 lbs. 
6 lbs. 


6 lbs. 
2 lbs. 
16 lbs. 


6 lbs. 
4 lbs. 
20 lbs. 


8 Ibs. 


15 lbs. 
15 lbs. 


20 lbs. 
10 lbs. 


Pontamine Sky Blue 6BX 
Copper Sulfate 


Pontamine Sky Blue 6BX 
Pontamine Blue AX 
Copper Sulfate 


Pontamine Sky Blue 6BX 
Pontamine Blue AX 
Copper Sulfate 


Pontamine Diazo Black 
BH Concentrated 


Du Pont Brilliant Crocein 
FL 


Du Pont Orange RO 


Du Pont Brilliant Crocein 
FL 


Du Pont Orange RO 


61 





4 lbs. 
3 Ibs. 


10 Ibs. 
8 lbs. 


2 Ibs. 


3 lbs. 


ab. 


10 lbs. 
2 Ibs. 


10 lbs. 
2 Ibs. 
2 Ibs. 


10 Ibs. 
4 lbs. 


Pontamine Green GX 
Du Pont Brilliant Paper 
Yellow Concentrated 


Pontamine Green GX 
Du Pont Brilliant Paper 
Yellow Concentrated 
Du Pont Nigrosine WSB 

Powder 


Pontamine Brown D3GP 
Du Pont Nigrosine WSB 
Powder 


Pontamine Brown D3GP 
Pontamine Black EX 


Pontamine Brown D8GP 

Pontamine Black EX 

Du Pont Brilliant Paper 
Yellow Concentrated 


Pontamine Brown D8GP 
Pontamine Black EX 


62 





15 lbs. 
10 lbs. 
3 Ibs. 


. Pontamine Black EX 
. Pontamine Brown D&GP 
. Pontamine Green GX 


Pontamine Brown D3GP 

Poutamine Black EX 

Du Pont Brilliant Paper 
Yellow Concentrated 





4. Colors for ordinary wall paper, cover Ordinary wall 
papers, etc. (where no special fastness proper- 
ties are desired) : 


Du Pont Auramine O 

Du Pont Metanil Yellow Concentrated 

Du Pont Orange II Concentrated 

Du Pont Orange RO 

Pontacyl Fast Red AS 

Du Pont Safranine T Extra 

Du Pont Fuchsine Powder Concen- 
trated 


Du Pont Methylene Blue ZX 

Du Pont Methyl Violet NE 

Du Pont pees Green Small Crys- 
tals 

Du Pont Nigrosines WSB Powder and 
WSJ Powder 


63 


and cover papers 


Wrapping, Kraft, 
poster and 
bag papers 


5. Colors for wrapping paper, including 


éé 


Kraft” paper, poster papers, bag papers: 


Du Pont Auramine O 

Du Pont Metanil Yellow Concentrated 

Du Pont Chrysoidines GN and R 

Du Pont Basic Browns BR and GX 

Du Pont Orange II Concentrated 

Du Pont Orange RO 

Du Pont Brilliant Crocein FL 

Du Pont Purpurine 4B Concentrated 

Du Pont Safranine T Extra 

Pontacyl Fast Red AS 

Du Pont Fuchsine Powder Concen- 
trated 


Du Pont Methyl Violet NE 

Du Pont Victoria Blue BX and B Con- 
centrated 

Du Pont Methylene Blue ZX 

Du Pont Victor Green Small Crys- 
tals 

Du Pont Nigrosines WSB Powder and 
WSJ Powder 

Pontamine Black EX 


The following samples were dyed on a fur- 


nish of 


1000 lbs. Unbleached Sulfite 
20 lbs. Size 
25 lbs. Alum 


64 


wn 


Pont Brilliant Paper 
oncentrated 


Du Pont Orange II 
_ Concentrated 





4 lbs. 


2 lbs. 


2 lbs. 


1 oz. 


10 lbs. 
16 lbs. 


1 lb. 


2 O28. 


1 oz. 


3 lbs. 
2 OZS. 


3 OZS. 


Pontacyl Fast Red AS 


Du Pont Safranine T 
Extra 


8 ozs. Du Pont Safranine 
Extra 
Du Pont Methyl Violet 
NE 


Du Pont Safranine T 
Extra 
Du Pont Orange RO 


Du Pont Chrysoidine GN 
uae Bey Methyl Violet 


Du Pont Methylene Blue 
Viy.4 


Du Pont Chrysoidine GN 
he Cah Methyl Violet 


Du Pont Methylene Blue 
ZX 


66 








a 
- 
« 

ite 


2 aired: 


8 Ibs. Du Pont Chrysoidine GN 


8 lbs. Du Pont Basic Brown BR 


7 lbs. Du Pont Chrysoidine GN 

1 1b. DuPont Auramine O 

9 ozs. Du Pont Victoria Green 
Small Crystals 


4 Ibs. Du Pont Chrysoidine GN 
8 ozs. Du Pont Victoria Green 
Small Crystals 


15 lbs. Du Pont Basic Brown BR 
1 lb. Du Pont Victoria Green 
Small Crystals 
1 lb. 10 ozs. Du Pont Methyl 
Violet NE 


4 lbs. Du Pont Chrysoidine GN 

1 lb. Du Pont Victoria Green 
Small Crystals 

8 ozs. nie ae Methyl Violet 


67 








3 Ibs. 


3 lbs. 


1 Ib. 


3 Ibs. 


003 ha 


2 ozs. 


12 ozs. 


8 ozs. 


Du Pont Nigrosine WSB 
Powder 


Du Pont Nigrosine WSJ 
Powder 


Du Pont Victoria Blue BX 


Du Pont Victoria Blue BX 


ae aia Methylene Blue 
Du Pont Methyl Violet 
NE 


aie cone Methyl Violet 
Du Pont Methylene Blue 
ZX. 





1 Ib. 


2 Ibs. 


5 lbs. 
2 Ibs. 


8 Ibs. 
14 lbs. 


6 lbs. 


12 ozs. 


4 lbs. 
2 lbs. 


Du Pont Methyl Violet NE 


Du Pont Methyl Violet NE 


Du Pont Methyl Violet NE 
Du Pont Safranine T 
Extra 


Du Pont Methyl Violet NE 
Du Pont Victoria Green 
Small Crystals 


Du Pont Victoria Green 
Small Crystals 
Du Pont Auramine O 


Du Pont Victoria Green 
Small Crystals 
Du Pont Auramine O 


69 





2 Ibs. Du Pont Victoria Green 
Small Crystals 

1 lb. 8 ozs. Du Pont Chrysoi- 
dine GN 


25 lbs. Pontamine Black EX 
1 Ib. 12 ozs. Du Pont Victoria 
Green Small 
Crystals 
5 Ibs. Du Pont Chrysoidine GN 
2 Ibs. Du Pont Methyl Violet NE 





The following samples were dyed on a 
furnish of , 


1000 Ibs. Kraft 
20 lbs. Size 
25 lbs. Alum 


4 ozs. Du Pont Auramine O 


8 ozs. Du Pont Auramine O 


1 lb. DuPont Auramine O 


70 





St 


5 lbs. Du Pont Auramine O 


4 ozs. Du Pont Basic Brown BR 


4 ozs. Du Pont Chrysoidine GN 


8 lbs. Du Pont Orange RO 


8 lbs. Du Pont Orange II 
Concentrated 


8 ozs. Du Pont Victoria Green 
Small Crystals 


71 








8 Suet Du Pont Victoria Green 
Small Crystals 
8 ozs. Du Pont Auramine O 


1 lb. 8 ozs. Du Pont Victoria 
Green Small 
Crystals 


2 Ibs. Du Pont Victoria Green 
Small Crystals 
2 Ibs. Du Pont Chrysoidine GN 


1 Ib. ie Buty Methylene Blue 
1 Ib. Du Pont Methyl Violet NE 


3 Ibs. he a Methylene Blue 
3 lbs. Du Pont Methyl Violet NE 


2 lbs. Du Pont Nigrosine WSB 
Powder 

6 ozs. Du Pont Methyl Violet NE 

2 ozs. Du Pont Methylene Blue 


72 








“ 6 Ibs. Du Pont Nigrosine WSB 


1 lb. 8 ozs. a Pont Safranine 


7 lbs. Du Pont Basic Brown BR 
4% Ibs. Du Pont Chrysoidine GN 
4 ozs. Du Pont Victoria Green 


Powder | 


Extra 


Small Crystals 








6. Colors recommended for roofing and Roofing and 
building papers: 


a 


pers: 


Du Pont Orange II Concentrated 

Du Pont Orange RO 

Du Port Chrysoidines GN and R 

Pontacyl Fast Red AS 

Du Pont Methylene Blue ZX 

Du Pont ‘egos Green Small Crys- 
tals 


Colors recommended for blotting pa- 


Pontamine Yellows SXP and SXG 

Pontamine Fast Yellow 4GL 

Du Pont Brilliant Paper Yellow Con- 
centrated 


Pontamine Fast Orange § 
Pontamine Brown D38GP 

Du Pont Purpurine 4B Concentrated 
Du Pont Safranine T Extra 
Pontamine Fast Red 8BL 
Pontamine Fast Scarlet 4BS 


73 


building papers 


Blotting papers 


Pontamine Blue AX 
Pontamine Sky Blues 5BX and 6BX 
Du Pont Victoria Blue BX and B Con- 
centrated 
Du Pont Methylene Blue ZX 
Du Pont Victoria Green Small Crys- 
tals 


Pontamine Black EX 


The following samples were dyed on a fur- 
nish of 


800 lbs. Bleached Rag 
200 lbs. Bleached Soda 
100 lbs. Agalite 

20 lbs. Alum 


2 Ibs. Du Pont Safranine T 
Extra 


3 lbs. Pontamine Fast Red 8BL 





20 Ibs. Du Pont Purpurine 4B 
Concentrated 


10 Ibs. Pontamine Fast Scarlet 
4BS 





74 








aa 
oi ce 


a —v a 


10 lbs. Pontamine Yellow SXP 


1 lb. 8 ozs. Pontamine Sky 
Blue 6BX 


8 lbs. Pontamine Sky Blue 6BX 


75 


10 lbs. Pontamine Yellow SXP 
10 lbs. Pontamine Green GX 


5 Ibs. Pontamine Yellow SXP 
10 lbs. Pontamine Green GX 


10 lbs. Pontamine Brown D3GP 
2 lbs. Pontamine Black EX 


10 lbs. Pontamine Brown D3GP 

2 lbs. Pontamine Black EX 

4 lbs. Du Pont Brilliant Paper 
Yellow Concentrated 





Tissue paper 8. Colors recommended for tissue paper: 


(a) Beater coloring 
Du Pont Auramine O 
Oe Pont Chrysoidines GN and 


Du Pont Basic Browns BR and 
GXP 

Du Pont Orange IL Concen- 
trated 

Du Pont Orange RO 

Du Pont Purpurine 4B Con- 
centrated 

Du Pont Safranine T Extra 

Du Pont Fuchsine Powder 
Concentrated 


76 





Du Pont Paper Blue R Con- 
centrated 

Du Pont Methyl Violet NE 

Du Pont Methylene Blue ZX 

Du Pont Victoria Blue BX and 
B Concentrated 

Du Pont News Blue B Concen- 
trated 

Du Pont Victoria Green Small 
Crystals 

Du Pont Nigrosines WSB Pow- 
der and WSJ Powder 

Pontamine Black EX 

(b) Dipping process 

Du Pont Auramine O 

Du Pont Metanil Yellow Con- 
centrated 

Du Pont Tartrazine O 

Du Pont Orange II Concen- 
centrated 

Du Pont Orange RO 

Du Pont Rhodamine B 

Du Pont Phloxine B 

Pontacyl Ruby G 

Pontacyl Fast Violet 10B 

Pontacyl Violet 4BL 

Du Pont Methyl Violet NE 

Pontacyl Blue R 

Du Pont Methylene Blue ZX 

Pontacyl Green B 

Pontacyl Green SON 

Pontacyl Light Green SF Yel- 
lowish 

Du Pont Nigrosines WSB Pow- 
der and WSJ Powder 

Pontacyl Blue Black SX 

Pontamine Black EX 


9. Colors recommended for boxboard: Boxboard 
(a) Beater coloring. Same dyestuffs . 
as under No. 5. 
(b) Calender coloring. Same as used 
on tissue papers according to dipping process. 
See under No. 8. 


17 





The following samples were dyed on a 
oer OU Ne ee 


500 ie Kraft 
500 Ibs. Old News 
20 lbs. Size 

25 lbs. Alum 





isan 
py) 
St tnd 


4 lbs. Du Pont Metanil Yellow 
Concentrated 


4 lbs. Du Pont Metanil Yellow 
Concentrated 
6 ozs. Du Pont Orange RO 


2 lbs. Du Pont Chrysoidine GN 


4 lbs. Du Pont Chrysoidine GN 


1 lb. Pontamine Brown D3GP 
1 Ib. DuPont Metanil Yellow 
Concentrated 

8 ozs. Du Pont Orange RO 


78 


4 lbs. 


8 ozs. 


2 Ibs. 
1 lb. 


3 Ibs. 
3 lbs. 


4 Ibs. 
4 lbs. 


1 Ib. 


5 lbs. 
1 Ib. 


10 lbs. 
1 lb. 


ats 


Du Pont Chrysoidine GN 
Du Pont Safranine T 
Extra 


Du Pont Methyl Violet NE 
Du Pont Victoria Green 
Small Crystals 


Du Pont Methyl Violet NE 
ps Methylene Blue 


Du Pont Safranine T 
Extra 
Du Pont Methyl Violet NE 


Du Pont Safranine T 
Extra 


Du Pont Victoria Green 
Small Crystals 
Du Pont Chrysoidine GN 


Du Pont Basic Brown BR 

8 ozs. Du Pont Methyl 
Violet NE 

Du Pont Victoria Green 
Small Crystals 


79 





Steam proof 
spool papers 


10. Colors used for steam proof spool 
papers: 

These papers are used in making spools on 
which to wind yarn to be steamed and as the 
name implies must be steam proof and not 
bleed onto the yarn. All the basic colors are 
used for this work. The steam proofing is 
effected by topping the basic colors with twice 
their weight of tannic acid. This should be 
added after the color is thoroughly mixed with 
the stock and before the size and alum. 


The following samples were dyed on a fur- 
nish of 


500 lbs. Unbleached Sulfite 

500 lbs. Ground Wood 
Tannic Acid 

20 lbs. Size 

25 Ibs. Alum 


80 


Se a re 









2 Ibs. Du Pont Auramine O 
ozs. Du Pont Chrysoidine GN 





. is Ib. 5 ozs. Du Pont Auramine 


oe |, 1 Ib. 5 ozs. Du Pont Chrysoi- 
ue dine GN 
Peale; 4 1 oz. DuPont Victoria 
Fei Green Small 
/ Pee Crystals 


6 lbs. Du Pont Auramine O 
1 lb. Du Pont Safranine T 
i Extra 


8 Ibs. Du Pont Safranine T 
Extra 
5 lbs. Du Pont Chrysoidine GN 


2 lbs. Du Pont Basic Brown BR 
4 ozs. Du Pont Chrysoidine GN 
3 ozs. Du Pont Methyl Violet NE 


81 





2 Ibs. uA Eon Methylene Blue 
1 lb. Du Pont Methyl Violet NE 


1 lb. 8 ozs. DuPont Methyl 
Violet NE 

1 lb. Du Pont Safranine T 
Extra 


1 lb. Du Pont Methyl Violet NE 

2 lbs. Du Pont Safranine T 
Extra 

8 ozs. Du Pont Chrysoidine GN 


6 lbs. Du Pont Safranine T 
Extra 
8 ozs. Du Pont Methyl Violet NE 


1 lb. DuPont Victoria Green 
Small Crystals 

1 lb. Du Pont Auramine O 

8 ozs. Du Pont Chrysoidine GN 


15 lbs. Du Pont Chrysoidine GN 
5 Ibs. Du Pont Methyl Violet NE 
3 Ibs. Du Pont Victoria Green 

Small Crystals 


82 
















mottled « or Pei papers: " Mottled and 


granite Paes, 

Greens GX and BX 
ue 
Pont ky Blue 6BX 
DuPont Purpurine 4B Concentrated 
_ Pontamine Black EX 



















ing samples were made by ad- 
iven percentages of colored un- 
s toa 100% bleached sulfite , Lett 
sh. a leached sulfite fibers were _ 3 ia ea 
ith the following: (For method of work- Ok A 
, page 20.) Bi. : , 
VA% Pontamine Green Beas | tial 
Du Pont Purpurine 4B Con- ky 
ee. _ centrated nan 
vege | Pontanine Blue AX : 


‘Black: (2 2% St Black EX 






83 


2%% Green Fibers 


2%% Red Fibers 


215% Blue Fibers 


2%2% Black Fibers 


2% Red Fibers 
2% Green Fibers 


2% Blue Fibers me 
2% Red Fibers i 


2 ir 





CHAPTER VI - 
RESISTANCE TO FADING 


HERE is a large class of papers such as 

writing, bond, cover and high grade book 
papers for which fastness to light is of extreme 
importance. Recommending what dye to use, 
however, depends to a large extent on what 
the paper manufacturer means by fastness to 
light, and whether he is willing or not to pay 
for dye of good fastness. 


The Ponsols are, of course, the fastest to 
light of all the coal tar dyestuffs, being prac- 
tically non-fadeable, and are the best to use 
in permanent papers. 


Next to the Ponsols, the Helioponts, which 
have been manufactured especially for high 
grade papers, are the best to use. 


Between the acid and direct colors the fast- 
ness to light depends more on the individual 
dyestuff as some acids are faster than directs 
and vice versa. 


It will usually be best when a manufacturer 
wants colors fast to light to acquaint our Lab- 
oratory with the facts in the case and let them 
recommend the proper dyes. However, for 
the benefit of those who wish to know the com- 
parative fastness of our dyestuffs, we are ap- 
pending to this paragraph the results of tests 
which have been made in our Laboratory on 
paper dyestuffs. 


85 


Ponsol colors 
are fastest 


Fastness to Light 


Classification of dyestuffs according to 
fastness to sunlight. 


Group I—Very fugitive 
Group Ji—Fairly fast 
Group IIJ—Fast 

Group IV—Very fast 
Group V—Extremely fast 


YELLOWS 


Du Pont Auramine O and Concentrated 


Pontamine Yellows SXP and SXG 
Du Pont Metanil Yellow Concentrated 


I 
II 
Pontamine Fast Yellow 4GL Til 
Pontamine Yellow CH and CH Concen- ) 

IV 


rate 
Du Pont Brilliant Paper Yellow Concen- 
trated 


Pontacyl Light Yellow GG 
Pontacyl Fast Yellow G 
Du Pont Tartrazine O 


ORANGE 


Du Pont Chrysoidines GN and R I 


Pontamine Orange R 
Du Pont Orange II Concentrated II 
Du Pont Orange RO 


Pontamine Fast Orange S IV 


BROWNS 
Du Pont Basic Brown GX I 
Du Pont Basic Brown BR 


Pontamine Brown R Iv 
Pontamine Brown D38GP 


REDS 


Du Pont Safranine T Extra 
Du Pont Rose Bengal | 
Du Pont Phloxine B I 
Du Pont Erythrosine B J 


86 








Du Pont Fuchsine Powder Concen- 
trated 

Du Pont Rhodamine B 

Du Pont Purpurine 4B and 4B Con- 
centrated 

Pontacyl Fast Red AS 


Pontamine Fast Scarlet 4BS 
Pontamine Fast Scarlet 8BS 
Pontacyl Rose P 


Pontacyl Ruby PL Concentrated 
Pontamine Red 12B Concentrated 


Du Pont Brilliant Crocein FL 
Pontamine Fast Red 8BL 


VIOLETS 


Du Pont Paper Blue R Concentrated 
Du Pont Methyl Violet NE 


Pontacyl] Fast Violet 10B 
Pontacyl Violet 4BL 
Pontacyl Violet 6BN 


Pontamine Violet N 


BLUES 


Du Pont Methylene Blue ZX 

Du Pont Victoria Blue BX 

Du Pont News Blue B Concentrated 
Du Pont Paper Blue R Concentrated 


Pontamine Blue RW 

Pontamine Blue BBF and BBF Con- 
centrated 

Pontamine Blue AX 

Pontamine Sky Blue 5BX and 5BX 
Concentrated 

Pontamine Sky Blue 6BX 

Pontacyl Blue R 


Du Pont Soluble Blue R 
Pontacyl Fast Blue R 


87 


Fastness to Light 


Fastness to Light 


Heliopont Blue 4G 


Site opi is oe } 

ontamine Sky Blue 5 

Pontamine Sky Blue 6BX f Tt CHets 1¥ 
Pontamine Blue RW J 

Heliopont Blue R 

Heliopont Blue M Vv 
Heliopont Blue G 


GREENS 


Lm! 


Du Pont Victoria Green Small Crystals 
Pontacyl Green B 





Pontacyl Light Green SF Yellowish 
Pontacyl Green SON 


II 
Pontamine Greens BX and GX Ill 
Heliopont Green G | V 


ee eee 


BLACKS 
Du Pont Nigeria Blacks GX and RX | I 
Pontacyl Blue Black SX 
Pontamine Diazo Black BH Concentrated Til 
Pontamine Blacks EX and EBN 


Du Pont Nigrosine WSB Powder Iv 
Du Pont Nigrosine WSJ Powder 


88 





CHAPTER VI 
LABORATORY PROCEDURE 


S dyeings made in the laboratory vary 

from those produced in the paper mill, 
it is necessary that all laboratory methods be 
standardized in order that the work may be as 
accurate as possible. There are cases where 
the standard methods are varied, but experi- 
ence alone will tell when to vary them. 


PREPARATION OF THE PULP 


_ The pulp is first beaten in the small beater 
to the desired condition and then the water 
removed until the pulp is in such condition 
that water will not run out of it when it is 
picked up by the hand. A moisture test of the 
pulp is then taken. All calculations in the 
laboratory are made on the basis of an air 
dried stock; that is, a stock containing 90% 
bone dry fiber and 10% moisture. A 2.5 gram 
sample is the basic weight of all dyeings, thus 
making a bone dry weight of 2.25 grams. 


In making a moisture test, two 25 gram 
samples are taken out of the jar in which the 
pulp is kept, one from the bottom and one from 
the top. These samples are dried bone dry on 
the dryer and again weighed. The number of 
grams wet weight to weigh out to obtain 2.5 
grams air dry weight is obtained from the fol- 
lowing equation :— 


89 


Moisture 
determination 


< 


| : 
_ ae Oommen 
all 


Wet weight of sample: X=—dry weight 
of sample: 2.25. 

The moisture of the various pulps is 
checked carefully, at least twice a week in or- 
der to insure accuracy in the moisture content. 
Those working in the laboratory must always 
be very careful to replace the covers on the 
jars, as well as to keep the pulp pressed down 
from the sides, so that portions will not dry 
out. Some pulps last longer in the semi-wet 
condition than others, ground wood being very 
bothersome in this respect, as it sours and 
turns dark colored in a few day’s time. 





DISSOLVING THE COLOR 


Great care must be exercised in making up 
color solutions. In the Paper Laboratory, a .5 
gram sample of color is dissolved and diluted 
up to 1000 cc. Boiling water may be used with 
all dyestuffs except Auramine, Chrysoidine, and 
Basic Brown. With these dyes, or mixtures of 
them, the water should never be heated over 
160° F. With the basic dyestuffs a very small 
amount ( not over 14 to 1 cc.) of acetic acid may 
be added to help dissolve the dyestuff, but this 
Acid and direct 18 not recommended if the color will go into 
colors cake Me solution easily. It will usually be found that 
” acid and direct colors will go into solution very 
easily, while with some of the basics, particu- 
larly Victoria Blue BX, Fuchsine Powder Con- 
centrated, Victoria Green Small Crystals, Pa- 
per Blue R Concentrated, and Methyl] Violet NE, 
more or less trouble will be experienced. 


PROCEDURE IN DYEING 


Weighing In making the dyeings, a wet weight of 
the sample hulp equal to 2.5 grams dry weight is weighed 


90 


out. The weight should be stated on a tag on 
the jar. The sample is put in a stirring cup 
and to it are added 100 cc. of distilled water. 


After putting in the paddle and stirring 
for a few minutes, the dyestuff is added. Using 
the solution and sample of pulp as prepared 
heretofore, 5 cc. of color solution equal 1 lb. 
of color on 1000 lbs. dry stock. A table giving 
the cubic centimeters of color solution neces- 
sary from 1/16 oz. to 1 lb. will be found at 
the end of this chapter. After adding the 
color, the mixture is allowed to stir for about 
twenty minutes and then the size is added.* 
1 cc. on 2.5 grams of dry stock, equals 10 lbs. on 
1000 lbs. dry stock. 20 lbs. of size or 2 cc. are 
customarily used in the laboratory. 


After five minutes the alum is added. The 
alum solution is made up using 25 grams alum 
to 1 liter of water; 1 cc. then equals 10 lbs. on 
1000 lbs. dry stock. 25 lbs. or 2.5 cc. are cus- 
tomarily used in the laboratory. 


FILTERING THE DYEINGS 


After stirring another five minutes the cup 
is filled half way up with distilled water and 
thoroughly mixed with the paddle, the water 
is removed from the pulp, by pouring all onto 
a suction filter. Care should be taken to give 
a sort of rotary motion to the pulp in the fun- 
nel, and to stop the suction as soon as the 
water has been completely removed. Continued 
suction will cause a two-sided effect with some 
colors, especially acids and directs, and the 
sample should be taken from the funnel in as 





_ *The size solution is made up in the laboratory, 
using 25 grams dry size to 1 liter of water. 


91 


Adding 
the color 


Adding 
the alum 


Remove the sheet 
from the suction 
funnel as wet as 
possible 


The filter 


The dryer must 
not be too hot 


Calendering 
deepens the shade 


wet a condition as possible. The dyeing should 
then be placed between two sheets of filter 
paper and two blotters and run through a 
wringer. 3 


The filter, which we have found to be the 
most convenient to use, is made funnel shaped 
with the large end six inches in diameter and 
covered with 80 to 100 mesh wire cloth, the 
sides of the funnel extending above the wire 
cloth about 114 inches. The lower end of the 
funnel is run through a rubber stopper so that 
it may be inserted in a suction bottle to form 
an air tight connection. To operate the filter, 
it is placed in position over the suction bottle, 
the cup of stock poured in the top and the 
vacuum turned on. When the water has been 
pulled from the stock, the sheet may be easily 
peeled from the wire. 


DRYING 


We use a dryer made in the same form as 
a mill dryer and heated with electricity. A hot 
plate, a steam stove, or even a drying oven will 
answer the purpose. 


In drying, care must be taken not to have 
the dryer too hot and also to turn the dyeings 
as they come around the dryer, in order to 
avoid two-sided effects. When a match is be- 
ing made, it is very necessary that the drying 
heat be kept fairly constant, or the dyeings will 
not check. 


CALENDERING 


After drying, the dyeing may be calen- 
dered on the small calender. This deepens the 


92 





ee, Le ae 


| 


eer 


shade up to approximately 10%, depending on 
the amount of finish put on the sheet. 


DETERMINING STRENGTH OF DYES 


In testing or comparing product samples, 
time will be saved by first “spotting” the solu- 
tions on filter paper, and estimating the differ- 


ata 


ence between the two products. For instance, spotting solutions 
if a dye were judged to be 10% weaker than for strength 


the standard, it would be advisable to put on 
equal strength dyeings of the two products, and 
5%, 10% and 15% stronger dyeings of the 
weaker product. The dyeings should be run in 
the usual manner, taking care, however, that 
all conditions are the same, i. e., exactly the 
same amount of size and alum should be used, 
all dyeings stirred the same length of time, and 
be put on and taken off the dryer together. By 
comparing the finished dyeings, the compara- 
tive strength of the products may be quite ac- 
curately determined. 


Dyeings of most dyes can be judged by the 
eye as close as 3%, but with some, such as 
Auramine, it is difficult to see a difference of 
less than 5%. Auramine is usually tested by 
adding Methylene Blue to the Auramine, thus 
producing a grass green shade. The strength 
of the Auramine is determined by the compara- 
tive yellowness of the green dyeings. 


SPECIAL METHODS OF DYEING 


The Eosine colors, such as true Eosine, and 
the Rose Bengals, Phloxines, and Erythrosines, 
are usually dyed using lead acetate to increase 
the brilliancy and to bring out the desirable 


93 


Accuracy 
of method 


Lead acetate 
increases the bril- 
liancy of the Eosine 
colors 


With acid colors 
use excess size 
and alum 


Laboratory formu- 
las can be cut 
25% to 50% 


Aftertreatment 
with copper sulfate 


bluish cast of the color. Lead acetate makes 
an insoluble color lake with these dyes, thereby 
tending to precipitate the color and produce 
clear backwaters. The amount of lead acetate 
should be approximately the same as that of 
the alum. 


Acid colors do not dye very well in the 
laboratory, and in heavy shades much more 
color is required than in the mill. It is usually 
best to use an excess of size and alum, i. e., 
about 30 lbs. of size and 40 lbs. of alum. Ex- 
ceptions to this rule are Du Pont Metanil Yel- 
low and Pontacyl Fast Red AS. The first is 
very sensitive to acid, and to get good results 
in the laboratory, 40 lbs. of lead acetate to 
1000 lbs. stock should be used. Pontacyl Fast 
Red AS has the disadvantage of being very 
sensitive to alum, a yellow precipitate being 
formed when an excess of alum is used. 


With direct colors it will be found neces- 
sary to use 40 lbs. to 60 lbs. salt and heat to 
140° F. in order to secure heavy shades. In 
heavy shades it will be found that laboratory 
formulas can be cut from 25% to 50% in the 
mill, when using direct colors. 


Dyeings of Pontamine Blue RW, Ponta- 
mine Sky Blue 6BX and Pontamine Blue AX, 
are made much more light resistant by treat- 
ing with copper sulfate. A solution of it is 
added immediately after the dyestuff. A por- 
tion of solution containing twice as much, by 
weight, copper sulfate as of the dyestuff used 
gives the best results. 


94 





' 
P 
: 
} 
: 
4 


Ounces 


1/16 
1/8 
3/16 
1/4 
5/16 
3/8 
7/16 
1/2 
9/16 
5/8 
11/16 
3/4 
13/16 
7/8 
15/16 
1 oz. 


CONVERSION CHART 


Cubic Centimeters to Ounces 


cc. 


02 
04 
06 
08 
10 
12 
14 
16 
18 
20 


22 | 


23 
25 
27 
29 
ol 


95 


Ounces 


oornrtieanwnrk ON 


es ee ee ee ee 
aoaurnr WO DY KF CO 


cc. 


312 

625 

937 
1.25 
1.56 
1.88 
2.19 
2.50 
2.81 
3.12 
3.44 
3.75 
4.06 
4.38 
4.69 
5.00 


cc. 


rary 
SCHDo ON Oo Ph & hb 


= 
— 


Sore as Oe Be Bg eee agee ge 
CMAN RHA PR wD bd 


mpoN N WN 
wo ib HO 


bo bh 
Ot oS 


Number of ounces equals approximately 


3-1/5 times number of cc. 


Ounces 


5/16 
5/8 
15/16 


1 
1 
1 
2 
2 
2 
3 
3 
3 
4 
4 
4 
5 
5 
5 
6 
6 
6 
7 
7 
if 
8 


1/4 
1/2 
15/16 
1/4 
9/16 
7/8 
1/4 
1/2 
7/8 
1/4 
1/2 
3/4 
1/8 
7/16 
3/4 
1/16 
3/8 
3/4 


3/8 
11/16 


96 


cc. 


2.6 
2.7 
2.8 
2.9 
3.0 


3. 

3.2 
3.3 
3.4 
3.5 
3.6 
3.7 
3.8 
3.9 
4.0 
4.1 
4.2 
4.3 
4.4 
4.5 
4.6 
4.7 
4.8 
4.9 
5.0 


8 1/4 
8 5/8 
8 15/16 
9 1/4 
9 1/2 
9 15/16 
10 1/4 
10 9/16 
10 7/8 
11 3/16 
Lis 
11 13/16 
12 3/16 
12 1/2 
12 3/4 
13 1/8 
13 7/16 
13 3/4 
14 1/16 
14 3/8 
14 3/4 


15 3/8 
15 11/16 


Pot ies 


OUR TECHNICAL SERVICE 


In every mill, no matter how well standardized the 
coloring of paper may be, problems are bound to arise from 
time to time, either because of changing conditions in the 
mill or in connection with endeavors to keep ahead of the 
advance in the technique of the trade. 


Success is apt to be more easily achieved on such prob- 
lems, if they are studied under the guidance of an expert 
whose business it is to keep in touch with all branches of 
the paper industry and the consumers of the products. 
Moreover, in many cases the problems are far more easily 
handled if they are attacked on a small experimental scale, 
smaller than a great many mills are fitted to undertake. 


In our Laboratory we have equipment which includes 
beaters capable of handling one-half pound to fifty pounds, 
various types of lamps for testing light fastness, and com- 
plete apparatus for paper testing and fiber analysis, thus 
enabling us to study any question from the matching of a 
single shade to complicated research problems connected 
with the development of new specialties. 


In view of these facts we feel that we are justified in 
saying that our Technical Laboratory, with its corps of 
experts, and equipped as it is with a very complete outfit for 
experimental work, can offer to our customers a service 
which will be of real value to them if they will bring their 
problems to our attention in time so that we can be of the 
greatest possible assistance. 


E. I. du Pont de Nemours & Co., Ine. 
Dyestuffs Department 


Wilmington, Delaware, U. S. A. 
Branch Offices 


Philadelphia New York 
126-128 South Front St. 8 Thomas St. 
Boston Watertown, N. Y. 
274 Franklin St. W. C. Stebbins Co., Inc. 
Charlotte, N. C. Chicago 
232 West First St. 1114 Union Trust Bldg. 
Providence San Francisco 
709 Hospital Trust Bldg., Consolidated Offices, 


12 Exchange Place 569 Mission Street 


| 
va 
INDEX 
PAGE 
ACID COLORS 
Pron’ Brilhant Crocein FL oi... coe. occ s 40 
Meee TUE UTNPORINIO IE a hc ha ds cod ss ceivccenda. 39 
Du Pont Metanil Yellow Concentrated ......... 37 
Du Pont Nigrosine WSB Powder .............. 42 
Du Pont Nigrosine WSJ Powder .............. 42 
Du Pont Orange II Concentrated .............. 38 
ME PERN OL TON oil's cas cle cy e's awed SoiLce 38 
ECE LOSING Fe a ac one cba bie cuwes 39 
BePeOme IVOSE DONGAL osc cae ce ucs eeu cece 39 
mememone solunie Blue. Ro. vicss sens edcocacecaek 41 
Du Pont Tartrazine O ........ PR See een Crs 38 
AIOE 34 Ee) th B.S iG ag a 42 
RN TaTe ee Pi er 40 
EES SES Sy Oo ad Sa gaa A Al 
EMCI E MeL ROA AS cit lia cera ceeds cues 39 
MRE eR COT 6 yy og ise fk Roe wikid sb alae's 6 0 oleic o'm's aie Al 
MU CATOBY PION as corel sls a ce ceuw cae eee 41 
Pontacyl Light Green SF Yellowish ........... A2 
MU ET URILOR ITE CAM oie ae kL ecole cise Giavacecs wwicltae 40 
Pontacyl Ruby PL Concentrated ...........-.. 40 
BASIC COLORS 
Du Pont Auramine O and Concentrated ........ 32 
Semen basic Brown BR i oie. kc ce hee ca ees 33 
Bmmwene thasic Brown GX... ik ooo s de cc ee ccs an 33 
Serpent, GOTysoldine GN 5. e ek cee wee 33 
BETO AGP VSOIGING Lose cis ayic vcd eeecceceneas 33 
Du Pont Fuchsine Powder Concentrated ........ 36 
Prone Methylene Blue ZX ...... cette eee ees 35 
erone Methy) Violet NEO... i... cee ee ees 34 
Du Pont News Blue B Concentrated ........... 34 
Benrerentr es IN OWS IC PAN oo icicle alse oc.o0'e 04 oe 34 
Du Pont Paper Blue R Concentrated ........... 34 
MERRIE ILNOGAINING Boos ib clans woc'es sp ueciveees 33 
Da ront Rhodamine B Extra .........escccece. 33 
SpE MME MOAI YANING) L LOKETS, | lis ccc a oo ue view ee ov 36 
enn VICLOris Bitie BA bik. kek ek cde eeae S 
Du Pont Victoria Blue B Concentrated ......... 35 
Du Pont Victoria Green Small Crystals ........ 35 
Beater Dyeing 
MeO OL HOGS COMTI cid cc cce se cevadesewas 13 
Blotting Papers 
REYES IN Grr eM os ny) alvin je Gis) ssp 0 w min aid ecw a0! 10 
See et gic eat Wel cas: oo pigietas 8 ¥oan8 28 Fp 
ee EERE Ee fe Ua vies, o RIL dA Mie W's + bo Ke ese 6.8 74-76 





Bond Papers PAGE 
CeSCription iiss se slasdlle. si wre ola ini ai ees: aon Rletetele renee 9 
colors © for oe os Uwe ae Se 2 0 eee 52, 59 
GYVEINGS 3 OF) tee be sewiad wy sola wise fhe tae ae 538-58 

Book Papers 3 
Cescription: sis o:c sess ee oss cs etal s/k alain Stan 8 
colors POR svg. g a8 oss le pp aivte ales pieces Ge 52, 59 
AVCINGS.: OL eee u'e'c so 600s u 0's salk_3 at bias 538-58 

Boxboards 
description 4.0 /e\.6 vas is ono vse ceed ee nS a7 
COLOTS! LOT Sie es ase wes vase army» winvan ues ee BPD Hy i 
dyeings Of) sc. sina sisi a ple cuales 0 9 ote er 78-79 

Building Papers 
GCescriptiony 4.54.32 s\s:en bbe cue o tese 9) tele 12 
Colors LOM ee Vs bs eco elere'e lc ese i testa 73 

Calender Coloring 
CGESCTIPEION «4 s:v-0i0's on 0iviv.& 010 a-e nett 9 one 21 
Colors LOT. ov 2s sss s cena ejalticte seein 21 

Chrome Yellow (Canary Paste) ..........2esseee0es 29 

Cigarette... Papers: <.c/s% <\sle.tele » tues oe ae EP A ie 10 

Classes of Colors Used for Paper 
ACTA. oo sibs sce 's wos 6 vale 8 e491 06 9° ale wie yale ne 24 
DASIC. os sie dws obs op ce So ou Ooks 6k eee 23 
GiveCG fies ook oe vw wae ae ee ioe wore 
Helio pont <0 vcie dieie vis piace des eels ele a eee ail 
POMSO] soe sao so oe Sis Ou le Sole oh ow lk gel enn 26 
DISMENUS ok oes o soib whee puree a & 2 9 «bing wel Seen 27 

Coated Papers 
Gescription 2.5.2 05 sss 6c be syns aes ee ann 21 
COLOTS LOT 5.6 + ois. o-s ule a > lbre aedieon a ne Gop en 22 

Colors for 
blotting 03.66.05 sn oe Geb in wea cee 73 
DONG ss Ske es oe oe 0b oi dide ay, kane 52 
DOOK © esata o's) ails vo. k's b oie le lel bia sce pig eee 52 
boxboard \\.%.i% 6 sa +0 else sie le 9 lsat alle eee ane 77 
COVED! Saw eV i ebiele Sis lel ncbewna toe ek nan 59, 63 
Kral io os ieee, 6 0b vibe sue bn 64 
steam proof spool papers ...:... «sues meena 
wall-oatmeal (02.06 osecidie's o 5 wince Sate tenn 59, 63 
WEIN ke ico vin eis's oe na tis som 6 sal 0e ate 

Cover Papers 
Cescription. 2.56. os vv» «0 0.0 op pe Ale ain pee 9 
COloTS FOR sie aca sa cdverecee sa » 55/01 gee ve 59, 63 
dyeings: Of 2 bsc5 ek nvcg ys + 0s Wolsey ee 60-63 

Dipping Process 
description) -visies «+ ane eye ele .e(o oon © 5 aetna 20 
colors \fLOTiaas srs. eee Pri rs 20 


cae Be 


ase 


DIRECT COLORS 


Du Pont Brilliant Paper Yellow Concentrated... 44 
Du Pont Purpurine 4B Concentrated ........... 46 
mrrnn re PisOk Tudeh ab xia eee ake ba cheb be ee 48 
Be SMIIIING IDO IGEN dc bck es oth ar bebe wesaur 48 
MeeuSRISEESERT PLE AL Pela aoe & 6 1erN vot wo vo as ae ee we 45 
Pontamine Blue BBF and BBF Concentrated... 45 
monmtnmine. Brown DSGP oes Oo oa oe ew Caw eee 47 
Bree IEE CELDT Fur i Wc as a pew ele oc ceed ees 47 
Pontamine Diazo Black BH Concentrated ...... 48 
emernne- Fast Orange SS vale .t sek co db aeines 47 
Meremreneties oaGt ICU SEALE yoy eas ecw wea ne eawe 46 
Pontamine Fast Scarlet 4BS ............ 0.008. 46 
Pontamine Fast Scarlet 8BS ............ecc00. 46 
Pontamine Fast Yellow 4GL .......... 0. ccaeee 44 
Meme CaTCeOn EN. cw ec cc ee lee ee Cas AT 
MUP ESOT AT a cab ewadline de AT 
Pontamine Red 12B Concentrated ............. AT 
MU NICLO CSPICL. Es 5 oy beeen shee wie e's wie 46 
Pontamine Sky Blue 5BX and 5BX Concentrated 45 
Semramune pky GING GBX 2... ee lee et bee 45 
Pontamine Yellow CH and CH Concentrated.... 44 
SenInTETeN SY CLIOW Tar oc le es kk cic twee kews 43 
MEPATIO SY GLNW SA eg o's a o's cheese civ aiacle ees 43 
MEEITIES TY GUIOW. SG Elsa cb ce eis veces ewtens 44 

Dyeing of Paper in the Mill 
a SLED A ep el 13 
IIR TFG ls hcg a a ag signet y o.3 eie cin srs aw at alll 
TER ee ie gah a caliny «, 6) 6: 0! 0 «ale poe lee 21 
Golan ——Method Of AddING «1.6... sc. cere e cece wes 13 
TOE A a Siu nig pin sipis o.s'+'s aie « Sie. 20 
EM UOTIAMORS ec ciel ds basal sltidia ec ese eee. 15 
NRNIBUREN iyi nic ol hea dl x)'w tle vis’ wiv'a'sisis eee se te 18 
pigments—method of adding .................. 14 
prevention of mottled effects .............6.6.- 16 
RESIS a cy dig baled cielsiec secs ye veaeb us 85 
Re Sg oy ys Sate eG Che cies See e cv accees 11 
EEE ADOT: iu salx <itiorajareceipicscisselkie tine os'e eee 84 12 
Es fear ELL y fale gp ose bos 6.9.0 9.9.0.4 $hes0 12 
I tay gh hos isl since ese Sicid ccc ee cb esas es 11 
Heliopont Colors 
IM ROE Te ogi gg ee 4 ai acHiandiy Gieieia nie ge eo vinlse b's 49 
MVE PESTS IV. 5 5a.b sos oes detie oe sierie wa macizes A9 
ME NIC) Gilg caw cesecslncclecupieesccenes 49 
Prelopont Blue 4G cece cece ete ec eeee 49 
REIN ech ec, wala Wrath w 00! sielsla be 
Kraft Papers 
CMR Rs rt Pa ere oa: vin ee alpie)a 6.0018 idiietes so @ 64 
ee es Sree as obs mid a si68 44 aisiele 70-73 


Laboratory Procedure PAGE 
preparation: of pulp) 9 i.0054).00255 nok Re 89 
dissolving: the coloty iis \\ i<bro'es ang < duet due 90 
dyeing. ‘procedure! i0,. s/c... wad sae sie 90 
filtering the dyeings :.). 0). i.2. 00. ee wee 
EVAN his vin le tele coved hae pds bdcleredsem eels aiie tana 92 
calenderings ':.4\y ess eu shoes oe eee ee 92 
determining strength of dyes .........e00ceeee. 93 
special method of dyeing ....... 35554 eae ee 93 
conversion charts) 60:0) 6 2004 so bela ee 95, 96 

Lamp Black \i\. aioe siye's os ace ate a ele b ipllaveues 0. Site aint ett 30 

Light—Chart of comparative fastmess ........... 86-88 

Matching Shades s)..505 6. ee sas 0 eae ale 15 

Mottled Papers 
AVEINS: OF ce )ss.io e's eielete sie blake) & wine ile eee 18 
Colors: LOP .\. ices bn ba keds Da els ee 83 
Gyeings Of) 6. os eis. v'scw nm sin vee eo cone eRe 84 

Mottling 
prevention Of 3... ss sek ese alee s ore ene att een 16 

NGWSDTINt i ieaie'\ ois's ce eu e.bie oom: urul plea ipnd Se ene nn 7 

Oatmeal Wall Papers 
CeESCTIPCION i. v)e)s bs a ee! eases tesa anette 11 
COLOTS: LOT. o cisacee a a eb oe eae 59-63 

QChre iy cei ise ec pik ow bie oe pin wale. wie esate ane 29 

Paris Blache i... 6s 6. 0s wae ole ere be 30 

Paper—Types of 
DlOGtIN Go o)e's aise o's sok we lee oo 9) mea 10 
DONG, eee ciass bo de Sale e ob ewe me ee 2 
DOK. clic oie s deca ens bole od Whe eee eran an nn 8 
DOXDOATA) o.5 6 'e o's ae ce 6 0 Slow ene, Sotelo iate Ite “4 
building i.) o is celia eee eieicalsietie SO ee 12 
COVED (eve is'e'e sve ole e's c's» ele €le ee ee tal aan naan 9 
Filter So Siecle le ol ye oe ola ie eal tm ete ene 11 
PLASSING 15 ss vin eee a! ose wes Ale b IB aL Sheen 12 
QTEaseprool 1.640.500 coe ewe RON een 12 
TAM yin sls be oie ele vom wigs delhi ak Senet 11 
NEWSPLING! Fie ieee oss ee wince beep ee eas ee ‘€ 
oatmeal Walls. sie se ke sl qe melee immense aa ann 11 
TOOTS is ain Fain ews ie be ble le Wid bo ete Beaten gn nen 12 
PISS ss bio. oie oon 'n.nie leile ode onl al alten 10 
WILADDINGE jos bis ose bo 0) be pigiin eal wte me Ana e tee ean 9 
WITCH 5 0 6 oto: 0 oes aie oo ym ie we see ee 9 

Pigments . } 

Ceseription ee. sive us ts + + © 0.0.5 ei 6 eaten 27 
method of adding’ to beaters ...5 0. ae eam 14 

Ponsol Colors 
Ponsol Blue 3GP Triple Powder .............. 50 
Ponsol ‘Blue RP ‘Triple Powder ”.2, )22.u eee 50 
Ponsol Yellow GP Double Powder ............ 51 

102 


PAGE 

I A a Soe we desie ale co's wh ables Ainge 31 
eg al ial bias si bie aio hss Ae bd piece ce 31 
Roofing Papers 

ENNIO Oe itched fle Fore bade d hk Wak RG cake we's 12 

SPER MNT ets WR Cee SNE Gow 3s 40.4 W'e'e ww lee ew Rb See 73 
Ns Nel aon cas w sid nin ben c,w tly ne 's 4 0 0’ ea! 0% 30 
ths Peg we Gs Sales @ oe e's 's 6 aie ais aia’ 29 
tate Sede stu bd) ba-4ik' digs 5 ¥ va ea b's SG a's 14 
Steam Proof Spool Papers 

eS SE a et er Meaty A vater sata aia 80 

GSN ae AE ESS Sa 81-82 
Selection of Colors for Papers 

ME et a api ye. be! 8 6 6a! dee nd 0 6 Sy ee 52 
MNTIIE BSCE VICE | fu cic ka vc ccc sew ues SAA RLS Pah A 97 
Tissue Papers 

MEISE. le eral eel a> a Geeiv Wed acd 6 9 a see a0 Ws 10 

ERE ena Cha nae lip A ian ah ay 4 piaie'a s s.0/0 wintade'e 76 
MS LL gy Teva tive so by didn eG. 4 be 8 vee gree 31 
Rees tS Utila lis ¢cly's\sleditias «sien e sees 29 
Wall Papers 

TIMER SIS chicas ste sie pile aa ale d's 's\e da oa 11 

RM etn et ee se are wile ava’ 59, 63 
Writing Papers 

id ca aih'a bine bin ond. ose 4 6310's yee 9 

eu yas pa pieth ond cela ape eee 9 8 52, 59 

dyeings (see Bond Papers, dyeings) 
Wrapping Papers 

ORE KG 8 ills les lero nese. 4 0 9i4 «4 .0°e 00 9 

NIN (06a d5s)e sTgNhin'g's 6 vidi Sensis 4 ps ee 0's 64 


CME Hello gai i i lp ga a ea 65-73 














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